Andy Klein

Condensing, paring and shorthanding the story elements can be daunting, and, despite the efforts of Kasdan and Goldman, two masters at wrangling unwieldy source material into shape, there is some awkwardness and confusion in the result.

The film is often moving and explores the discomfort inherent in the contacts between the American "hosts" and their "guests," but its effect is diluted by slow pacing and lengthiness.

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

Scrappy, sappy, and appealing.

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.

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).

Schnitzler's film has a great hook, some clever bits and well-drawn, if standard issue, characters, but is still only partly satisfying. The problem may very well be one of cultural translation.

At best, second-rate pulp, hampered by excessive length, a thematically meandering screenplay, and a general lack of excitement.

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

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.

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.

It's sweet and well intentioned, with occasional amusing moments.

The redeeming features of All Over the Guy are the consistently engaging performances and some genuinely funny dialogue.

While the idea may be good, its execution is awful.

This is quintessential "family entertainment."

May display an energetic and promising talent, but it is also uncomfortably close to being a 105-minute music video, with all the problems that suggests.

Nobody can convey more while doing nothing than Thornton. And while his minimalist style is appropriate for the ironically named Levity, what is conveyed never quite generates the emotional charge of "Monster's Ball."

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.

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

At first glance, Schizopolis may seem like no more than a grab-bag of tricks and gimmicks, but repeat viewings reveal a more coherent pattern.

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.

Hope Floats comes lumbering along, scourging all in its path with saccharine sentimentality and bogus emotions.

Instead of gags, we’re treated to endless observations about love, commitment, romance, parental responsibilities, and other well-trod subjects. None of this is particularly insightful or interesting.

It's not really a kids' film, nor it is particularly funny, by either design or execution. It is, rather, Columbus' latest attempt at a comically tinged tearjerker.

Nearly every attempt at humor in this witless, completely reprehensible "movie" is mean-spirited and stupidly conceived at the expense of some group that deserves better.

All the new plot stuff is way old hat, as though straight from a textbook chapter called "Conflict Drives Your Narrative!" And at times the motivations are either unclear or senseless.

This is as close to a total wipeout as can be imagined.

Jones seems to have trouble keeping up with the large amount of action he's required to participate in. And Del Toro seems ill-cast and ill-used.