Solidly entertaining.

For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.

The issue may be serious, but the tone is lighthearted, and that, more than anything else, makes Super Size Me a palatable cinematic entrée.

With its appealing blend of animated comedy, romance, and adventure, Shrek 2 follows the formula of its predecessor while maintaining enough originality not to come across as a direct copy.

Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.

Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.

A fast-paced, entertaining motion picture that replaces gritty tension with a lightly-dramatic character interaction that occasionally borders on straight comedy.

If you like romantic movies but find Hollywood's increasingly sterile formulas to be a poisonous bore, Love Me if You Dare offers an antidote.

Although none of the characters are fleshed out much beyond the comic book level, we nevertheless find our sympathies aligning with them.

Although Harry Potter and the Prisoner of Azkaban stands well enough on its own, it has a "middle chapter" feeling. In other words, there's no real beginning or ending. Little is resolved and the film's climax is low-key.

Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.

An incomplete memoir with spotty character development, but, in part because of the way it was filmed and in part because of the strength of the cast, it's still an effective entertainment.

A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.

To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.

There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.

In order to appreciate I'll Sleep When I'm Dead, you have to be willing to absorb unhurried film noir, and to accept that the film's version of "closure" is a little frustrating.

Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled.

Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.

It's hard to say whether Anchorman is the funniest movie of the year - it has enough offbeat and gut-busting moments to make it worth consideration in that category.

Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.

Offers two hours of solid entertainment.

Enjoyable and inviting.

For those who aren't offended by extreme profanity and violence, Suicide Kings offers a kinetic and surprisingly funny two hours.

Eastwood has captured a peculiar yet involving slice of life.

One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

It's a movie of moments, some of which are side-splittingly funny. Arguably, this is the most uproarious comedy that Allen has ever done.

There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.

Tomorrow Never Dies is a better film than Goldeneye. In fact, it's the best Bond film in many years.

For those who like the director's body of work, appreciate "The Twilight Zone," and have a high suspension of disbelief threshold, The Village is likely to satisfy.

As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.

It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.

Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.

It offers genuine scares and chills without the self-aware, packaged feel of many horror/thriller films.

It is involving and entertaining, and features an intriguing, independent heroine.

If there's a drawback, it's that the plot is trite. Hero is an exemplary example of visual poetry. The narrative is clearly of secondary concern.

The two actors, Daniel Day-Lewis and Emily Watson (Breaking the Waves), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction.

Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.

A low-key holiday drama that's refreshing not only because it lacks the big discovery melodrama of most similar movies but because it's entirely believable.

Despite its flaws, the movie is compulsively watchable, and few will be bored by it. It's a charming movie that falls short of greatness, but is still worth a solid recommendation.

As the movie approached the end credits, I cared about what happened to these characters, and that made the coincidences and occasional missteps forgivable.

Cuteness is the watchword here. The dark, eerie atmosphere that oozed from every frame of "The Empire Strikes Back" is gone. Instead, for Return of the Jedi, we have good triumphing decisively over evil, a too-pat resolution to a love triangle, and walking teddy bears.

A respectable caper movie in the tradition of "The Sting" and David Mamet's "Heist."

Understands baseball and the men who play it, and, for a film about the sport, that's half the battle.

A crowd-pleaser.

70% style and 30% substance. It has a plot and characters, but those are almost beside the point.

This is an unusual source of entertainment.

A lot of people are going to describe it as a waste of time, yet there's a likeability to the quirky characters that held my interest while tickling my funny bone.

The intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay.

This is a film for anyone who prefers to leave the theater smiling.

The Devil's Advocate is a highly-enjoyable motion picture that's part character study, part supernatural thriller, and part morality play.

If you want daring or original, Fools Rush In isn't the movie to see. Like 90% of all romantic comedies, it follows a time-honored formula that allows little room for variation.

The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.

Berg's picture is certainly an above average effort that provides a solid emotional punch.

An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.

Best of all, it proves that there are still directors cut from the John Waters mold who aren't content just to push the envelope -- they rip right through it.

A harrowing experience for those to whom this sort of story appeals.

Although there is violence and danger, this is less about the chase than it is about the relationship between the siblings.

Saw is for hard-gore horror aficionados only.

After the Sunset is a mess, but it's a breezy, fun mess.

Compelling and life-affirming.

This is a fine motion picture with a couple of superlative performances. It is arguably the best, most honest bio-pic of the year.

Starts slowly, but builds to a satisfying conclusion.

If you think "Hero" is a sumptuous film, prepare to be blown away by House of Flying Daggers.

Enjoyable, and will likely appeal to anyone who appreciated the 2001 film.

A flawed but entertaining (and perhaps informative) tale.

Manages to remain witty throughout.

trong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great."

It's still a lot of fun, and I welcome any film that keeps me entertained for nearly the entire running length.

Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.

It takes a confident actor to accept a role like this and to perform it to flawless perfection.

Has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.

Bright, colorful, and exhilarating.

The acting by Scarlett Johansson is so raw and sincere that the film leaves an impact despite its deficiencies.

For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

The script doesn't do a great job with either the spiritual or the physical trek, but the spectacular action sequences occur with enough regularity that strong writing isn't necessary to keep Waterworld afloat.

This movie is no masterpiece, but it is an electric, colorful production that roasts the media and those obsessed by it over an open flame.

The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.

Heartfelt, but not to the degree that it becomes cloying.

Has its share of bitingly funny moments, and some of the comedy is quite inventive.

For what it is, Assault on Precinct 13 delivers. It's not great art, but, for B-movie fans and those looking for a mid-winter jolt of energy, it's good fun.

This movie ranks as better-than-par entertainment.

This is a film of powerful ideas, impressive set design, and compelling performances.

It's great fun, but certainly not great art.

A wonderfully nostalgic, and occasionally insightful, window into the recent past.

In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.

Yet, although Stone has clearly made this motion picture with his tongue planted firmly in his cheek, he nevertheless manages to capture all of the tension and mystery necessary to hold the viewer's interest.

Hitch is 2005's lone legitimate contender for a Valentine's Day movie date.

An accomplished film that uses dark humor to leaven its serious topics.

In many ways, the concept underlying Lolita is more provocative than the actual material, which tends to be a bit long-winded. This is more the fault of the book than of Lyne's approach.

This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.

Hostage has suspense and momentum.

Robots is more than a load of spare parts, but there are some sprockets and rivets missing.

The Upside of Anger belongs to Joan Allen (for whom director/screenwriter Mike Binder developed the project).

It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.

Camilla Belle is an impressive newcomer - this could be her breakthrough appearance.

Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before.

It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

A curious mix of smarts and schmaltz.

A cut above the average politically-based thriller.

Viewers will discover that the film has something to offer nearly everyone, whether they are a novice or a black belt in kung fu cinema.

Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.

Kingdom of Heaven may have problems, but it delivers.

At times compelling, at times devastating, and at times long-winded.

Although targeted primarily for girls in the 12-to-19-year old range, there's enough truth about friendship, love, and life in The Sisterhood of the Traveling Pants to offer solid entertainment to almost anyone who gives it a chance.

The film revels in blood and gore, but this is not just a run-of-the-mill splatter film. There's a lot of intelligence in both the script and in Alexandre Aja's direction.

Miyazaki may not have achieved the level of "Spirited Away," but he's still ahead of the curve.

5x2 is a little talky and the pace is slow, but, for this kind of motion picture, it's one of the best around.

Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.

War of the Worlds is not vintage Spielberg, and it's on the grim side for a summer action blockbuster, but it's worth the time and money invested.

The emotional resonance that results from the focus on several unique individuals is what makes this a worthwhile viewing experience.

Lovers of Dahl's book will almost certainly appreciate what Burton has wrought.

It celebrates art, hope, and dreams, and you don't have to like hip-hop to appreciate the message or the way in which it is delivered.

Linklater has crafted an entertaining motion picture.

Although not as expertly-crafted as "Die Hard" or "Speed," The Rock is exhausting in its own right -- and that's just one of several convincing reasons to see this film.

There is sadness and humor here, but all understated.

In the wasteland of August releases, this entry shines like a beacon lighting the way to a theater.

Functions as much as a primer on how to conduct underground filmmaking as it does an offbeat romantic comedy.

While these may not be the most unusual themes to fashion into a motion picture, Rudolph's atypical approach to the characters and their situations makes for an intriguing, if not always pleasant, movie.

Brassed Off! is a traditional feel-good motion picture with an element of social commentary thrown in for good measure.

Talky and intelligent, and never takes the cheap way out. It's also something of a downer.

Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.

Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

The House of Yes is what happens when a film takes the dysfunctional family melodrama to its farthest reaches. It's a bold, gutsy movie that's definitely not for everyone.

It's rare for homosexuals in mainstream motion pictures to be presented as individuals rather than icons; Love! Valour! Compassion! defies tradition by proffering its characters as real people with believable problems.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

As animated films go, this is easily the best of a weak year.

Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.

Despite some obvious overplotting, Oscar and Lucinda is a mostly effective and often affecting motion picture that touches our hearts while daring our minds to balk at its implausible coincidences.

If there's anything special about the film, it's that on this occasion, the emotional realism of the characters, especially Slade, is heartwrenchingly believable.

Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.

As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.

A fast-paced, engaging science fiction adventure tale.

Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.

Soul Food stays a cut above the average melodrama by keeping the characters grounded and the situations from becoming too ripe.

Ransom isn't a bad thriller, it's just not a great one. There's a little too much pointless running around, a subplot that leads nowhere, and a certain creeping predictability that argues for a shorter running length.

Then again, it's worth noting that this Hollywood production is actually saying something, rather than just churning out eye-popping special effects while relying on a regurgitated plot.

One of the better offerings to be found in a year that has seen a drop-off in the quality of animated films.

It's a thrill-a-minute ride that concludes with a whimper, like a roller-coaster that has all the drops and twists early. Make no mistake, this is a good source of early summer fun, but with a little extra imagination, it could have been a whole lot more.

Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.

Stirring and emotionally forceful.

This is a smart, adult romance that rarely panders to clichés, and gives up the heady bliss of most such movies in favor of something bittersweet.

Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.

This brash, glitzy, energetic entertainment has the power to hold an audience enraptured, but, at the same time, there's a sense that what we're experiencing is just candy for the eyes and ears.

First time director Jonathan Frakes (who also plays Riker, the Enterprise's second-in-command) injects some badly-needed energy and inventiveness into a series that, prior to this effort, was sinking under its own weight and boldly going nowhere.

In this impressive debut, Solonz doesn't pull any punches in conveying the side of junior high that "The Wonder Years" never depicted: the naked cruelty that some boys and girls suffer at the hands of their classmates, their teachers, and even members of their own family.

This may sound like Woody Allen - in fact, it often feels like Woody Allen (minus the expected helpings of angst) - but it's not. Prime is from writer/director Ben Younger and, while it's not up to the level of Allen's great romantic comedies ("Annie Hall," "Manhattan"), it's better than anything the acclaimed New York auteur has brought to the screen in recent years.

Reaction to The Weather Man may depend upon an individual's ability to tolerate spending 100 minutes in the company of an unpleasant protagonist. There's no doubt this can be an uncomfortable experience, but it can also be rewarding for those who are willing to endure the discomfort.

The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.

It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.

Will work better for younger viewers than older ones. There's not much plot to absorb and there's plenty of action, so this is the kind of spectacle that will appeal to those without long attention spans.

Imperfect, but magical nonetheless.

This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.

This one is a creepy white-knuckle excursion into horror, where even the "boo!" moments are so well developed that they cause a jolt.

There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.

Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

This is the best adult holiday film in a while.

There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.

Does what it sets out to do: educates about a mostly unknown historical figure (without doctoring the facts too much), entertains, and uplifts.

When Interview with the Vampire works, it's as compelling and engrossing a piece of entertainment as is available on film today. When it falters, the weaknesses seem magnified.

This is not a "nice" movie -- it deals with some pretty intense issues (like incest and suicide) -- but it is both bold and inventive, and works because of an unforced approach.

The New World is beautiful and lyrical and, except for the ill-advised voiceovers, a treat for more than one of the senses.

Glory Road's strength is the way in which it blends social awareness into the sports genre.

There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.

Petersen takes what could have been a muddled motion picture and structures it perfectly, creating a strong piece of entertainment. It helps, of course, that he has a capable cast.

Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.

This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.

In movies this deliberately paced, the line between fascination and boredom is a fine one, easily crossed. Fortunately, Bubble stays on the right side of that line.

The film is not riotous, but it is sporadically amusing.

The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.

A thriller with enough of the right ingredients to provide a couple hours of escapism.

Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.

A classic example of a pedestrian motion picture being lifted out of mediocrity by an arresting lead performance. Zooey Deschanel doesn't just elevate Winter Passing; she carries it.

When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi.

If you like kinetic movies about crime, criminals, and all sorts of bad behavior, Running Scared will catch and hold your attention.

There's enough drama here to fill two hours. Whether or not that happens, Rupert Murray's account represents fascinating viewing, and the richness of the subject matter more than makes up for the crudeness of some of the visual elements.

It makes for a fascinating exploration of the human experience.

Tennant takes this familiar material and crafts a charming, captivating motion picture.

With fresh dialogue and a willingness to show his protagonists in a less-than-favorable light, Demme has found a way to make this entry memorable.

Holofcener has an ear for dialogue, and, as is often the case with the best character- centered films, a chief pleasure is simply enjoying what the participants have to say to one another.

Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.

At a time when juvenile movies often dominate theaters, this is an adult movie through-and-through, and evidence that there are filmmakers who care about entertaining a more mature audience.

The film's ending is a little unanticipated, and, although there are a few too many surprise revelations in the last 20 minutes, they all work reasonably well to enhance, rather than diminish, the central theme.

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

Despite being saddled with bad prosthetics and a ridiculous wig, Diesel displays more acting ability than in the testosterone-soaked genre where he has carved out a niche.

A workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. But there's nothing extraordinary about the movie.

Robinson has assembled an impressive young cast comprised primarily of rappers (such as Tip Harris, a.k.a. T.I.) and fresh faces (newcomer Lauren London).

Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.

So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.

The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.

It delivers pretty much what's expected.

Solid family entertainment, and it's better than 2006's previous tepid animated releases.

Director Michael Cuesta hits the right notes with his characters. They are believable 12-year olds: intelligent (but not too intelligent) yet naïve, and trying with mixed success to navigate the path of adolescence.

Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.

The problem with An Inconvenient Truth isn't the message; it's the messenger.

What really matters in this film are the lead characters - Resler and Russell - who are interesting enough to warrant such a cinematic endeavor. The upbeat film touches on serious issues without becoming lugubrious.

There are times when the comedian falls back on his typical shtick, but the film doesn't shy away from the darkness inherent in this kind of story, and it has a heart.

The Devil Wears Prada is two films in one: a caustic, energetic satire of the fashion world and a cautionary melodrama. The first works; the second doesn't.

The slow, uneven beginning is more than compensated for by the rousing climax.

This is a funny movie. It delivers plenty of laughs, but it isn't in the same league as "Clerks." I left that movie holding my stomach from laughing so hard.