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.

An amusing trifle. There are few comic staples less convincing or more timeworn than charming lunatics in love, and the only thing that lifts this film beyond TV-movie quality is Jones' performance.

The problem with Wendigo, for all its effective moments, isn't really one of resources. At its heart, the story seems confused, as though the director has given it one too many twists.

Star Jeremy Renner seems shorter than Dahmer, but is otherwise a look-alike and gives a convincingly intense and weird performance. Bruce Davison (as Papa Dahmer) and the rest of the cast also do nice work.

Both Fellini and Woody Allen have remarked that casting is 90 percent of directing--and Citizen Ruth bears witness to that notion. While this is primarily Dern's show, the casting is perfect all around.

It manages to be sentimental without seeming trashy.

It just doesn¹t get very good until halfway through, in large part because the usually excellent Walston is miscast.

In terms of cleverly hidden exposition, this ain't "The Sixth Sense."

Fails dramatically as well as ideologically.

It more or less makes sense and it's not dull -- more than can be said for many similar attempts.

I can’t imagine why anyone would plunge ahead with this project -- an adaptation of a classic no one reads, about characters no one could care about, directed by a filmmaker of little talent and less success.

The Wachowskis still hold the current franchise on intellectually engaging action films. It's not like I won't be heading back for a second (or even third) look.

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

A lovely little comedy that--like its predecessor--will, one hopes, buck the odds and find its audience.

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.

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

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

Stylish, but definitely not for the squeamish

The film looks great, but Wargnier is so heavy-handed in his portrayal of postwar Russia that it casts suspicions on the film's reliability as history.

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

Cube is essentially a glossy, beautifully designed 90-minute Twilight Zone episode.

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.

Reasonably well-made and all, but it's simply too familiar, too derivative and too inferior to its predecessors to have any reason to exist.

This is not Tsui's best film by a substantial margin, but it's immense fun.

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

The muddiness of the basic concept and the thinness of its execution eventually defeat even Witherspoon's talents.

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.

It's always risky to characterize a new film as "unique," but Tuvalu, the debut feature from German director Veit Helmer, has as good a shot as any at claiming that label.