Andy Klein

Once the action kicks in -- starting with an extraordinary balletic fight in the rain featuring the two masters and a flying wooden beam -- you can't take your eyes off the screen.

More than just a disappointment. It is also a spoiler, possibly weakening the impact of "Silence" for its fans.

Pecker is a satire, but an incredibly good-natured one, which is not quite the contradiction in terms it might seem.

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

I still think the first is the best in the series, but I'm in the minority: Number two has a stronger following among the legions of Hong Kong movie buffs.

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.

It doesn't have enough power in the first place to make a strong claim on our attentions.

Brosnan proved his worth last time around; but, sad to say, the rest of Tomorrow Never Dies lacks the wit and inventiveness of GoldenEye, let alone of Goldfinger.

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.

This is a dark, often funny walk through Ingmar Bergman turf.

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.

We become so absorbed in the ramifications of the techniques involved that a more challenging plot might have resulted in sensory overload.

There is nothing particularly interesting about either the people or the situations. Barrial might as well have filmed ANY body.

Two minor drawbacks: Onscreen IDs of speakers are sometimes omitted. And Kissinger's crimes seem almost paltry in comparison to current American policies.

Allen produces a lovable, relaxed--although not uproarious--comedy.

The fractured structure, which moves from one species to another while following a generally chronological overall arc, can occasionally leave your mind to wandering, but for a film with no plot or characters to focus on it is remarkably gripping.

A political film in the form of a thriller, rather than a garden-variety potboiler gleefully helping itself to stock political tropes from the genre's grab bag.

Slips by quickly enough, but it never engages our interest more than passingly.

Les Destinées has a leisurely, contemplative pace without ever growing boring. Still, at the end, we are left somehow empty. For all the time we spend with these people, we never really get inside of them.

Zemeckis is more interested here in getting us thinking (and feeling) than in telling us what to think.

With no aspects of the personalities represented outside of their music, Grateful Dawg ends up feeling dry and incomplete; its two subjects are stripped of all other characteristics and come across as not very interesting.

Eureka is, quite extraordinarily, never dull.

A mostly well-constructed action flick with a number of flashy, well-choreographed fight and chase scenes.

Doesn't show us much of anything we haven't seen better already.

Office Space's pleasures don't really depend on plot. It's pretty much what a Dilbert feature should look like.

It's an amazing story, but, in addition to its intrinsic interest, the Shackleton expedition has another remarkable draw: Crewman Frank Hurley had brought along not only still cameras, but a movie camera as well, providing us with an extraordinary record of the ship's voyage.

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

O'Connor as Fanny is irresistibly appealing.