Three losers of late, the actors succeed quite nicely in unifying the movie's multiple personalities, its ricocheting screenplay.

An endearing comic roundelay about the can't-commits.

A nostalgic paean to China's fading pastoral ways, might easily be taken for an audition tape for Zhang Ziyi.

A raunchy parody that's hip-deep in the mainstream it aims to rip, and sometimes does despite a glut of smug inside jokes.

Hobbled by a multiplicity of narrative lines and superfluous, often stereotypical characters, the movie suffers from a lack of both focus and passion.

In the end, it's primarily a brain teaser, obtuse and ultimately limited in its emotional impact.

A ruthlessly unsentimental portrait of a German war profiteer's epiphany that inspires neither sorrow nor pity, but a kind of emotional numbness.

Unlike the ronin, the heroes of a Japanese legend, these guys are still searching for a story.

Sorry, Antz has no show-stopping song and dance numbers, no catchy melodies and no love songs either. The score, made up of old standards, does, however, enhance one of the movie's wittier episodes.

Unlike Hollywood's hygienic undersea dramas, Das Boot graphically depicts the nasty intimacy of a long mission.

Director Kevin Rodney Sullivan, a television veteran making his feature film debut, has fluffed up this undemanding material much as one would a pillow. But pillows have their place and so do girlfriend movies.

The Perrier of dumb-and-dumber movies, an effervescent idiot's delight that burbles from the wellspring of silliness inside star Adam Sandler's head.

The X-Files movie is really just a two-hour teaser for the series's sixth season. And little else. You will feel exactly like Mulder when he says, "How many times have we been right here before, Scully? So close to the truth?"

Tom Schulman's script is on the sloppy side and offers few surprises; still, it's not entirely bereft of laughs.

Like Shepherd's speech, The American President touches on all manner of issues but illumines none of them. And while there are some engaging glimpses of the president's staff in action...the film's principal pleasures lie in the president's pursuit of a first lady.

Like the South, the movie is sumptuous and somnolent.

Tomorrow is propelled by relentless action. Chase scenes are interrupted not by witty conversation or sexy conquests but by the rattle of machine gun fire.

Unfortunately, Harrer's inner struggle isn't as grand as the sweep of Jean-Jacques Annaud's direction.

Gets by on quirky charm and slacker chic-but just barely.

Everything from time travel to melodrama figures in this whimsically daft story, a romanticization that tries your patience even as your tear ducts well.

Brings bite as well as bark to the funnier sequel.

Though it lacks the gloss, twists and star power of earlier Grisham movies, The Chamber does possess Gene Hackman's most cantankerous turn since the lowdown lawman he created in "Unforgiven."

Most egregiously, the filmmakers set up a classic struggle between right and wrong and then, in a coy coda, refuse to take a stand.

Director John McTiernan, who redefined the action genre in the original "Die Hard," does devise some smashing explosions, crashes and so on, but nothing really new.

Pollack makes a solid job of it, as does Cruise. But solid isn't enough when it comes to thrillers -- or courtroom dramas, for that matter. Solid is great when it comes to office furniture.

While this adaptation of Waller's treacly bodice-ripper leaves out a lot of the lurid excess, it is not altogether free of pomposity.

Jack Lemmon and Walter Matthau reprise the roles of a pair of Minnesota mossbacks in the heartwarming, albeit warmed-over, sequel Grumpier Old Men—though given its scatological bent, it might have been called Grump and Grumpier.

A superbly heartfelt drama for six diverse actors, it is as colorfully striated as its majestic namesake - and almost as wide. The film's depth is another matter altogether.