Andy Klein

Solidly entertaining little film.

While Brother may be the perfect introduction for Kitano newcomers, longtime fans may find it superfluous and even a step down from the likes of Hana-Bi (1997) and Sonatine (1993).

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.

Taymor moves Titus completely out of time and into all time.

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.

The film's demands may be too perplexing.

It would be heartening if the adolescent girls of America turned their backs on this pandering piece of kitsch, but that would be hoping too much.

It's unlikely that anyone will walk away unmoved.

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."

Boll uses a lot of quick cutting and blurry step-printing to goose things up, but dopey dialogue and sometimes inadequate performances kill the effect.

Wisely, Run Lola Run lasts something under 80 minutes; any longer, and it would have been as exhausting and boring as a half-hour Donna Summer track.

Singleton may spend the rest of his career chasing the kind of critical and commercial success he won at an early age with "Boyz N the Hood". But even if Rosewood fails to meet that standard, it is a film that reaffirms that depth of his talents.

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.

Nobody involved will want to make this banal "comedy" a highlight of their résumé, not if they have any sense.

This nearly perfect confection never takes its action more seriously than its comedy.

The plot can be really tough to follow, in part because Banderas' accent, rarely a problem in recent years, is surprisingly hard to understand at crucial moments, and partly because it's tough to keep track of just who's working for whom...and why...and even where.

This is mostly well-constructed fluff, which is all it seems intended to be.

An occasionally funny, but overall limp, fish-out-of-water story.

As worthless a piece of garbage as we've seen this year.

One of the glories of the film is that Ramsay keeps us rigorously to Morvern's point of view without ever being explicit about what's going on in her head.

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

It's moving; but it's also endlessly engaging, uproariously funny at moments, informative, and eventually touching in ways one might not have expected.

It doesn't add up to much more than a trifle that might have been more impressive as a short.

The actors labor long and hard to bring some semblance of reality to the proceedings, but the whole affair has a distinctly faux '50s feel to it.

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.

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

Just barely diverting, even at under 80 minutes -- a TV episode inflated past its natural length.