Lane's comic bits are sodden, and as a result, the film is listless and fatiguing.

Quest for Camelot, the first feature-length, fully animated film from the Warner Bros. studio, is a quasi-feminist Arthurian adventure about a young woman who wants to become a knight of the Round Table. It is also, unfortunately, a derivative rip-off.

Hytner has filled the cast with good actors, but he's used them in obvious ways. Day-Lewis is not required to be anything but noble. Allen is such a purse-mouthed wife that you see why her husband ran to Ryder's nubile temptress (Hytner keeps turning Allen sideways, as if to emphasize that she has no chest). Ryder might as well have S-L-U-T tattooed on her forehead. None of these performers is bad, but what they're doing is shallow and ultimately uninteresting.

Saddled by Milius and Larry Gross's leaden script and Hill's somnambulant pace, "Geronimo" is hardly better than Ted Turner's recent fiasco.

Unless you're a junkie for mediocre rejoinders and insults ("I know loan sharks that are more forgiving than you," Leary tells Johns), this is one holiday party you'll want to miss.

At first, the movie's restraint is enticing, and even soothing. By the end, though, Tran's strategies have an enervating, numbing effect. The same methods he uses to pull us in finally kill our interest.

Watching the Care Bears' Adventure in Wonderland, the latest of the teddy superstars' animated movie escapades, is like being pelted mercilessly for 75 minutes with Lucky Charms. It's nonfatal (unless you have a sugar problem, in which case you're likely to lapse into a coma), but it's not exactly my idea of fun either.

The bitchery may be funny for its own sake, but it causes the film to lose touch with its real heroine and genre. Moreover, the Christie plot ends up so drastically foreshortened that you'd swear a reel must have been misplaced, although the sluggish direction of Guy Hamilton doesn't make one anxious to see it restored.

Some of the jokes are so raucously or goofily low-minded that you may laugh out of a kind of shocked weakness.

The state of uncertainty persists for the entire film, as you wait in vain for the director to tie the pieces together.

This is a gassy, overbearing, pretentious little bit of art-in-your face, from the director of "The Cook, the Thief, His Wife & Her Lover," and it revisits some of the filmmaker's favorite places (the men's room, for example) and favorite themes (life as consumption and elimination). Most of the film's meanings are buried inside the artist's big, intellectually high-rolling metaphors.

It's obvious that Blank has been forced into many organizational shortcuts in an effort to stitch the random footage together.

A Ninja turtle soup of computer gimmicks, karate chops and kiddie Confucianism.

For all its stunning, poetic imagery, it's almost impossible to sit through.

The actors tend to think that everything they do in pursuit of character is great, wonderful and worthy of being shown. They're rarely accomplished enough to strut their stuff, nor assured enough to know when to hold back.

Watching Jean-Luc Godard's very loose adaptation of "King Lear" is like finding yourself in the middle of a poem whose meaning the poet refuses to make clear.

If Shutter Island, a gothic thriller starring Leonardo DiCaprio and Mark Ruffalo, were put to a free association test, the word most likely to come to mind would certainly be "weird."

It's all too predictable and by the book. Even with a few plot twists that aren't in the original, I was hardly shocked or awed. While it's sleeker and more sophisticated than the Chaney version, this new Wolfman isn't any scarier.

Largely relies on stale gender stereotypes and tired comedy routines that don't elicit much laughter.

This "Holmes" is just about as silly as it awesome. At times, Ritchie and company try so hard to make sure this isn't your father's "Sherlock Holmes" that it comes across as, well, cartoonish.

In the end, Daybreakers doesn't really want to make anyone think too hard. If that were to happen, they might stop to wonder why all the human survivors out there hiding in fear of their lives don't just become garlic farmers and call it a day.

Ten minutes after you leave the movie, all the battles will have blended in your memory into a ceaseless muddle of sliced-off appendages, jets of blood splashing artfully on walls, gurgling screams and flashing swords.

Planet 51 is cute, but it's no "Shrek."

It's a performance in search of a movie.

There's so much pluck and gumption on the screen you can smell it. Flesh and blood? Not so much.

In attitude, if not aptitude, Robert Pattinson in Remember Me comes across like a latter-day James Dean.

Jonah Hex may not be the longest 81 minutes you ever spend, but it might well be the most tedious.

For all the wacky, taboo, parodic situations that MacGruber plunges into, the film seems content to simply point at its hero, yell "What a schmuck!" and leave it at that.