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It is somehow appropriate that the central plot device in Envy is dog poo, because this abysmal offering by Barry Levinson stinks to high heaven.

One might expect intelligent situational humor with wit and sophistication from a romantic comedy about two successful attorneys at odds with each other professionally. What Laws of Attraction offers instead is childish bickering and shock-value humor that tells us nothing about romance or attraction.

The war of the sexes may be fierce, but the intra-tribal warfare waged between girls is apocalyptic—at least that's what writer/co-star Tina Fey and director Mark Waters will have you believe in Mean Girls. The teen-flick is a nice confection that will definitely resonate with high school girls and their mothers, and will leave the guys and fathers who get dragged to it scratching their heads.

Two months after an ebullient Jennifer Garner emerged at the Academy Awards in a bold, red dress, evoking 1940s Hollywood glamour, her star turn has come with the release of 13 Going on 30. The bubbly nostalgia trip is a weak showcase for Miss Garner.

What has clearly become the season of the revenge picture has a new offering in Tony Scott's Man on Fire, which is a bravura example of style over substance.

Though the story of the siege at the Alamo has been told in movies many times, John Wayne's epic in 1960 and Disney's current release, co-written and directed by John Lee Hancock, stand out as the most widely known. A comparison of the two versions, both titled The Alamo, reveals crucial differences. Note: this chart contains spoilers.

Disney had a $100 million-plus budget riding on its version of The Alamo, a war epic directed by John Lee Hancock. Box Office Mojo had forecast gross receipts of almost $15 million during its opening weekend and, when it barely reached $9 million, it was clear that The Alamo was in trouble. More than a week following its release, it has become the year's biggest bomb.

From its opening sequence of the vengeful Bride (Uma Thurman) giving a 30 second recap of Kill Bill Vol. 1 to the coda, which finds her in much the same state as she was at the beginning of her journey, Kill Bill Vol. 2 not only continues the astounding, blood-speckled action of the first movie, but does much more—it delivers a lively, and, at times, thought provoking romance of self-styled natural born killers who aren't quite sure if they should kiss or kill each other.

Add Connie and Carla to the list of mediocre drag comedies. An avalanche of clichés, characters and Michael Lembeck's uneven direction buries good performances, scenes and musical numbers. Nia Vardalos, who wrote and starred in the blockbuster My Big Fat Greek Wedding, is writer and star again. Teamed once more with Greek producer Rita Wilson, who discovered Vardalos, Connie and Carla is no reason they shouldn't keep making movies.

The screenwriter's name is Katherine Fugate (it's pronounced few-jhay) and, if the name is unfamiliar, it is not because her movie scripts are low-profile projects. The 38-year-old writer for The Prince and Me, her first feature to be released in theaters, which has exceeded expectations, is working with top directors—Martha Coolidge (Rambling Rose, Lost in Yonkers), Chris Columbus (Harry Potter, Stepmom)—and actresses—Julia Stiles, Jennifer Aniston, Shirley MacLaine—and her credits include TV's popular Xena: Warrior Princess, which may make it to the silver screen.

Waging war on an epic scale, Wolfgang Petersen's Troy is forgettable—save the performance of Eric Bana as Hector, the movie's true hero. Based super-loosely on Homer's The Iliad, with deviations from the Greek classic best left to scholars, Troy captures enough of Homer's glory to make the action matter.

We've cleaned up the navigation in this section and broken the yearly data into three distinct views: Domestic, Opening Weekends and Worldwide box office by year. Click on the tab at the top of the page to select which yearly index you wish to view (Domestic, Open Weekends or Worldwide). Click on the year on the index chart to view the specific breakdown for that year.

This chart is now running off of our live database so it is always up-to-date. Premier Pass members can now sort this chart by any column header.

If a general overseas gross is available, it will always appear on the

We added the top 7th weekends of all time in recognition of The Passion of

What could have been a fun, hip, modern take on the old '80s coming of age sex comedy, The Girl Next Door is nothing more than a banal, convoluted story about horny teenagers who learn that sex isn't everything and that even porn stars—particularly those with a heart of gold—need love.

At the climax of writer and director John Lee Hancock's war drama, The Alamo, Lt. Col. William Travis (played by handsome Patrick Wilson) urges his men: "[T]hink of what it is you value so highly that you are willing to fight and possibly die for it. We will call that Texas."

Ella Enchanted does for Cinderella what Mike Myers did for Dr. Seuss' The Cat in the Hat: spoil a classic children's story. To say that director Tommy O'Haver (Billy's Hollywood Screen Kiss) goes overboard in this campy catastrophe is too generous. O'Haver's adaptation of Gail Carson Levine's bestselling book, scripted by five writers, is more affected than enchanted.

Walking Tall, The Rock's follow up to last year's surprisingly good The Rundown, is an abysmal bore that even its star's obvious charisma can't save. A hybrid of WWE Smackdown and The Andy Griffith Show, the movie presents a vision of a small town police state that is at once ludicrous and chilling.

Martha Coolidge's simple romance, The Prince and Me, is truly romantic and that is a happy Hollywood occasion. The love story has a beginning, a middle and an ending, fine romantic leads, real, passionate love and not a trace of tragedy. The Prince and Me means what its title says: this is the girl's love story.