OK, "Twilight" is getting a lot of attention. And it makes sense: The young girls who read Stephenie Meyer's book have been swooning for months in anticipation of the movie.

But now, I say, it's time to show some love to the dog -- "Bolt," the animated feature from Disney Studios is racking up some solid reviews and has a genuine star. No, not Bolt, who's voiced by John Travolta. It's the hamster named Rhino (voiced by Mark Walton). According to reviews I've seen, Rhino steals the show.

So you could wait in line with some screaming girls to see the story of Bella and Edward in "Twilight." Or you can go for the funny and see a story about a dog trying to get home.

Take a look at the reviews: "Bolt" scored this very respectable mark at rottentomatoes.com. And "Twilight"? Let's call it a splat.

Here's a sampling of what critics are saying about both films:

"Bolt"

• Let's start with Rick Bentley's review for the Fresno Bee.
• "'Bolt' borrows amiably from a host of sources, including 'The Incredible Journey,' 'Lilo and Stitch' and 'Toy Story 2'. But the movie redeems its obvious cribbing by artfully blending exciting action with a comical road-trip saga and imbuing it with a dogged sweetness. Funny and heartwarming, if not entirely original, Bolt is bound to charm audiences of all ages." -- Claudia Puig, USA Today
• "The pictorial work here is dazzling. From the fluff of Bolt's fur to the cool solidity of the steel bars on his crate to the crumbly warmth of the asphalt on the streets, the film has a reach-out-and-touch texture. (I saw it in 3-D, which no doubt amped up these details.)" -- Carrie Rickey, Philadelphia Inquirer
• "It's a seriously withholding action comedy, stingy on the wit, charm, jokes, narrative satisfactions and animals with personalities sharp enough for the big screen ... But the story! A mess. And the pathos! Stop! I give, I give!" -- Michael Philips, Chicago Tribune
• "Bolt breaks no great new stylistic ground -- and yet it's a sturdy beaut. The cartoon chase scenes are of secondary importance -- and yet they're wittier and more exciting than anything in 'Quantum of Solace.' It's a great day in America when the complicated looks so easy, and when we expect smart storytelling as a rule, not the exception." -- Lisa Schwarzbam, Entertainment Weekly

"Twilight"

• This is the Rick Bentley's review for the Fresno Bee.
• "But much of what made the relationship between Edward and the smitten Bella Swan work in Meyer's breezy book has been stripped away on screen. The funny, lively banter -- the way in which Edward and Bella teased and toyed with one another about their respective immortality and humanity -- is pretty much completely gone, and all that's left is a slog of adolescent angst." -- Christy Lemire, Associated Press
• "[Director Catherine Hardwicke] has reconjured Meyer's novel as a cloudburst mood piece filled with stormy skies, rippling hormones, and understated visual effects. What Hardwicke can't quite triumph over is the book's lackluster plot. On screen, Twilight is repetitive and a tad sodden, too prosaic to really soar. But Hardwicke stirs this teen pulp to a pleasing simmer." -- Owen Gleiberman, Entertainment Weekly
• "Though Hardwick gamely ups the film's action quotient to appeal to the random males who might think of showing up, 'Twilight' is unabashedly a romance. All the story's inherent silliness aside, it is intent on conveying the magic of meeting that one person you've been waiting for. Maybe it is possible to be 13 and female for a few hours after all." -- Kenneth Turan, Los Angeles Times
• "If Ms. Meyer has made the vampire story safe for her readers (and their parents) -- the sole real menace comes from a half-baked subplot involving some swaggering vampires who like their steak saignant and human -- it's only because she suggests that there actually is something worse than death, especially for teenagers: sex. Faced with the partially clad Bella (who would bite if she could), Edward recoils from her like a distraught Victorian. Like Ms. Hardwicke, the poor boy has been defanged and almost entirely drained. He's so lifeless, he might as well be dead -- oops, he already is." -- Manohla Dargis, New York Times