Andy Klein

The film still delivers the goods, in part because of Eastwood's iconic presence and in part because of Daniels' scene-stealing work in what could have been a hokey role.

The performance itself (which aired on PBS and is available on DVD) apparently went perfectly; given the potential pitfalls that Miller documents, it's some kind of miracle.

Were it not for the gravity of the setting, the movie could just as easily be a comedy -- with everybody play-acting and doors opening and shutting and the repercussions of lies multiplying geometrically -- as a drama.

Helgeland makes a solid debut as director here, finding a new angle through which to view the Parker character, and doing so without exhausting the possibilities.

It's unlikely that anyone will be bored. But it's just as unlikely that anyone will be swept off his feet either.

It's an interesting, often worthwhile, film, but humor isn't its strongest attribute.

Scrappy, sappy, and appealing.

While there's nothing original in Rush Hour, it runs through its well-worn paces with both wit and excitement.

If you don't view it too analytically, Men of Honor provides almost more uplift than a body can handle.

Makes good use of its actors.

What Malick has fashioned here is less a conventional narrative than an impressionistic mosaic of our common, yet varied experience of life and death, as focused and clarified through the relentless lens of war.

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

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

It's a fast, entertaining ride.

It is a moving and solidly entertaining comedy/drama that should bolster director and co-writer Juan José Campanella's reputation in the United States.

It's hard not to warm to a film that features William Shatner (playing himself) looking at De Niro's character and complaining about what a lousy actor he is.

Solidly entertaining little film.

The film's demands may be too perplexing.

If the performances are the prime reason the film is as engaging as it is, it must also be said that Majidi's visual style seems far more sophisticated than in "Children of Heaven."

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

For most people, four hours pushes the outer comfort limits for theatrical viewing. My Voyage to Italy is well worth the time, but bringing along a thermos of espresso isn't a bad idea either.

Dominik's stylistic choices are savvy, but what really makes the movie work is Bana's extraordinary performance as Chopper.

In short, the film is emotional, perhaps even sentimental, but it strenuously avoids the sort of blatant manipulation that marks cheap sentimentality.

The efficiency of his (Donaldson) direction renders the movie somewhat characterless, like a top-rank made-for-TV production.

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

Rea hits just the right balance of sympathy and self-interest.

As satisfying as much of the film is, there are a few missteps, large and small, that may require indulgence on the part of viewers.

For all of the heroine's shockingly "modern" lifestyle choices, the thrust of the film is remarkably old-fashioned. It embraces the notion that you can have only a single great love in a lifetime...and that's if you're lucky.