Andy Klein

In the end, Code Unknown is a puzzle with no obvious solution.

Zemeckis is more interested here in getting us thinking (and feeling) than in telling us what to think.

May well stand as his (Chan) final word on true martial arts cinema.

Unfocused. We feel cut adrift amid the various plot threads. This is exacerbated by some murky exposition. Characters, events, and the passage of time are not always clearly established.

While it's crucial to preserve and make available every bit of available footage of such an earth-shattering event, it must be said that Rosenbaum's film manages to become slack and uninvolving after a while.

The entire cast is right on the money, a special word must be said about Seth.

Zhang deftly and quickly draws a half-dozen supporting characters, and his pacing never flags.

Hilary Birmingham -- makes an impressive feature directorial debut with this rural drama. She gets first-rate performances.

Bigger, Longer & Uncut delivers: It's never less than funny, and at its best, it's truly hysterical.

More involving and intriguing than any by-the-numbers studio thriller. In large part, it holds our interest because of its stylistic boldness, not despite it.

Les Destinées has a leisurely, contemplative pace without ever growing boring. Still, at the end, we are left somehow empty. For all the time we spend with these people, we never really get inside of them.

Eastwood provides more than an hour of easygoing fun, followed by 45 minutes of action and suspense.

It's hard to know just how much to trust Titanic Town.

It's a fast, entertaining ride.

The various talents on display aren't enough to overcome the sheer blandness of the material.

The film's demands may be too perplexing.

Two minor drawbacks: Onscreen IDs of speakers are sometimes omitted. And Kissinger's crimes seem almost paltry in comparison to current American policies.

Whatever its faults -- and it has more than a few -- it is unquestionably different. It at least takes a stab at interpolating cerebral ideas into the format of a thriller.

The repetitious structure begins to grow wearing about two-thirds through, but the conclusion has an emotional wallop that justifies the wait.

Silva is a polished and sophisticated director who brings a surprisingly light touch to much of this apparently fact-based story.

It's during the shift to seriousness that The Ice Storm makes its missteps. The intrusion of tragedy, while altogether believable, still seems like a device, a calculated tug at the heart strings. It is, in short, a once-effective ploy that now feels like a cliche. A near-miss might have been more effective.

It's funny and exciting on enough levels that adults are likely to enjoy it just as much as the rug rats.

It's a strange, entertaining little film that derives its weird tension from a blend of comic and serious tones.

Sad to say, the story is simply too slight to sustain the film.

O'Connor as Fanny is irresistibly appealing.

Washington creates an indelibly charming and terrifying character whose volatile blend of dedication and horrible expediency keeps us off balance.

Despite the few good performances, this Hamlet is not a keeper.

The movie is not always satisfying as a standard thriller, nor is it always clear; but it's never dull, either, and it displays a sensibility so weird as to be its own recommendation.