Andy Klein

Eureka is, quite extraordinarily, never dull.

O'Connor as Fanny is irresistibly appealing.

Those with an interest in new or singular sorts of film experiences will find What Time Is It There? well worth the time.

It’s Del Toro who really gets to strut his stuff with a subtle, ambiguous, and riveting performance. In a field of top-notch actors, he’s the one whom you remember days later.

But by the end the audience, along with Clayton, has been jerked around so many times that it's almost too exhausting...By then, it's almost impossible to care.

This is quintessential "family entertainment."

In the end, the performances and the basic strength of the premise make Shadow of the Vampire a relatively diverting ninety minutes. But there is the inescapable feeling that it is a shadow of the great film it might have been.

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

Filled with sharp observations and interesting, often subtle, bits of visual trickery, much of it evoking the technique of Douglas Sirk's American domestic melodramas. Still, the very simple story seems too simple and the working out of the plot almost arbitrary.

The texture is reminiscent of last year's "Suzhou River," but the basic material isn't as rich.

Generally engaging.

Handily in a league with its predecessor...as good a follow-up as one can imagine, given the built-in difficulties of sequels.

What's most disappointing is the almost utter lack of humor -- In the mindless action sweepstakes, however, there's still enough here to place The Transporter above big-bang gibberish like XXX.

While the movie tries to make the connection between the rough but sensitive lad we see on screen and the notorious carouser of later years, there's little here to suggest whatever torment led Behan to drunkenness and an absurdly early death at 41.

Worth watching.

Pretty hysterical.

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

Its greatest flaw is the casting of Miller ("Trainspotting," "Hackers"), who continues to have virtually no screen presence...For all that, Plunkett & Macleane is fun.

Kay doesn't seem to know the meaning of moderation.

Will probably please hard-core action fans who have become inured to plot idiocies, but it remains a terrible waste of talent.

By the end, we simply have no idea what he (Lee) feels or what the film is really about. And we are too worn out to care.

Lee's pace is slow enough to try viewers' patience.

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.

Hu has crafted a charming and modest movie.

It's unlikely that anyone will walk away unmoved.

Ninety percent of this thriller is absolutely terrific; but the 10 percent that fails is so troubling that it threatens to undermine all that is wonderful in the rest.

Festival in Cannes is an amused indictment of Jaglom's own profession; he doesn't seem to be making excuses for anybody's compromised (or even downright immoral) behavior here.

Abandon all hopes of common sense, and enter the theater with high expectations for visceral entertainment. You won't be disappointed.