Its compelling cast and sincere matchmaking goals are reason enough to play along.

As a thriller, The Statement is relatively disappointing, but as a moral study, the movie proves far more promising.

Sexy, stylish, and legitimately suspenseful.

Riddled with ammunition for what Alfred Hitchcock called the "Plausibles"--those poor-sport moviegoers who insist on pointing out a movie's inconsistencies instead of simply enjoying the ride

Offers a charming distraction from the current campaign season by sidestepping real issues and making light of the process.

Fans will cheer at Schumacher's faithful inflation of Webber's vision, which interprets all that pomp and bombast as if the show were some sort of overblown Vegas attraction.

Rojas is played by Penélope Cruz, who's endearing enough, but still comes across coarse and irritating every time she attempts a role in English.

Duchovny bookends his story with a modern-day framing device that takes all that has gone so well until this point and turns it cloyingly sentimental.

Imagine what someone like Danny DeVito might have done with the material, taking it in that darker "War of the Roses" direction instead of languishing in this sunny, not-nearly-sinister-enough "Legally Blonde" territory.

Borderline reprehensible, High Tension is a living nightmare, but then, why else would you see it?

Skillfully manage to adapt some key details of the show -- namely, the high-flying car chases and hillbilly narration.

I'd like to say that Flightplan is one of those white-knuckle, edge-of-your-seat thrill rides that critics are always raving about, but instead, it's more like a transatlantic flight with no clear destination, where the cabin noise makes it impossible to sleep and the in-flight movie is a rerun.

Their movie is cold, and I mean that not as a weather pun, but in the sense that it's impossible to warm up to a character who sees the awful things happening around him strictly in terms of how they affect him.

The tension's palpable and the deaths are gruesomely inventive (and jarringly abrupt), but the clincher is so far-fetched you may end up wishing you'd opted for the relative reality of a week in Cancun instead.

While this Kid isn't up to "Spy Kids" standards, the good news is the film hews closer to the high-concept kids' movies of the 1980s than to all that Disney Channel goo that's been repackaged for the big screen lately.

Secret Window's premise is certainly new, even if King appears to be plagiarizing themes from himself.

One of those outrageous stalker thrillers in which so much trouble could have been avoided if the characters had only thought to call the police.

There's a lot to be said for a movie that isn't after instant fame, but only wants to make audiences feel good.

I'd gladly take the legend over this dreary pseudo-historical mumbo jumbo.

If you were hoping to find another "Nemo," you're likely to be let down by this insincere and borderline unpleasant alternative.

American audiences have seen Ju-On. And The Grudge just goes to show why remaking it is such a frivolous idea: What's the use in wasting so much energy if the filmmakers aren't going to fix what was wrong with the movie in the first place?

One of those slow-baked Southern character studies about taking an old flat tire of a man and finding some way to love him anyway.

The beauty of You Got Served is that it delivers the moves from every vantage point.

A relatively harmless (and thankfully, not entirely laughless) trifle.

As coincidence would have it, Steve Carell's "The 40-Year-Old Virgin" spun comedy gold from a similar idea just last week. Virgin shares not only The Baxter's basic premise, but also two of its key cast members (Paul Rudd and the beautiful Ms. Banks), allowing audiences to see just how much better The Baxter might have been if Showalter had given us some reason to identify with his socially awkward protagonist.

I suspect Scott sees Domino as the ultimate provocation, his way of grabbing Hollywood by the throat and shouting, "You want reality??! I'll give you REALITY!!!" Sort of.

The movie is a leaden, slow-moving beast.

With its ho-hum hero and lackluster love story, The Order would likely be one big implausible bore if it wasn't for production designer Miljen Kreka Kljakovic.