Even though the special effects and action sequences are good, the monsters conjured up are rather humdrum.

Fortunately, a movie that needs some levity gets a comic boost from William H. Macy as a fictional racing handicapper from the golden days of radio. As if training a horse, Macy cues us to laugh every time he's on screen.

The situations are mighty broad, but exuberance counts for something in the movie with perhaps the year's most double-edged title.

Things will not be a big concession-stand movie because the floating heart is our introduction to a cottage industry we hope won't catch on. It is dirtier than pretty, yet Frears finds beauty in the telling.

Moore and Ford rise above the hackneyed story, infusing the proceedings with their own chemistry and appeal. If only the adults responsible for this film could learn how to deal.

Appallingly mean-spirited.

The jokes often are corny or labored, and the story is predictable. However, Atkinson raises the movie to the level of good fun by the force of his outrageous persona and skill at physical comedy.

The murkiest-looking movie since Ben Affleck's “Daredevil” and about as lacking in charm.

The cinematic equivalent of an elaborate and poetically constructed non sequitur.

Finally, there's a big-budget popcorn movie that delivers what moviegoers hunger for: humor, action, thrills and charismatic characters. Pirates of the Caribbean: The Curse of the Black Pearl is the summer blockbuster we've been waiting for.

Good but not legendary.

With a little sex, some mystery, a little sex, an appealing title and a little sex, France's Swimming Pool has what it takes to become an art house audience magnet, especially amid the heat of summer.

The first one was silly fun, amusing and oddly inventive; the second is plodding, unfunny and almost cringe-worthy.

Begins promisingly and entertains for a stretch because you think it's leading to something more than one of the movie year's flattest conclusions.

The look of the film, shot on digital video, is haunting and gritty. The cleaner, prettier look of 35mm would have detracted from the immediacy and sense of foreboding created in this artful blend of sci-fi and pseudo-realism.

There are only so many times you can see a slow-motion kickboxing scene or a figure sail off a skyscraper before you want to spend a nice, cozy evening with the Dead Sea Scrolls.

Though it has some mildly amusing moments (mostly in the visuals accompanying the novel's narration), Alex & Emma is disappointing, neither very romantic nor very comic.

There's a fine line between darkness and glumness, one that "Spider-Man" bounced off buildings to avoid. The Hulk lumbers across it.

In "There's Something About Mary," the gross gags were hilarious. Here, they're just vile.

Last year's "TheWild Thornberrys Movie" and previous Rugrats films were more imaginative. And this one also suffers by coming on the heels of the exceptional "Finding Nemo."

Somewhere within all of this there really is a homicide -- a hip-hop industry rub-out that may someday make this movie half of a passable DVD double feature with Nick Broomfield's documentary Biggie and Tupac.

At least 2 Fast is self-aware enough to know that it's trash, which is worth half a bonus point. Lack of pretension helps the viewer get over the fact that this is just another retread.

Caro gives the fablesque story -- based on a 1,000-year-old Maori legend -- both a contemporary and timeless quality, anchored by newcomer Castle-Hughes' powerful and haunting performance.

Not since "Memento" has a movie served up such a provocative mind-bender, and the Sundance winner by first-time filmmaker Andrew Jarecki has the advantage of being true.

Do yourself a favor and resist The Italian Job, a lazy and in-name-only remake of 1969's G-rated Michael Caine heist pic.

The most gorgeous of all the Pixar films — which include "Toy Story" 1 and 2, "A Bug's Life" and "Monsters, Inc." —Nemo treats family audiences to a sweet, resonant story and breathtaking visuals.

Tolerably tepid.

Everyone is well cast and no one more perfectly than Freeman, who is far more God-like than George Burns ever was. Freeman's God is wise, humble, wry, patient and funny but never mean-spirited.