Andy Klein

Indeed heartwarming, though not simplemindedly so.

The acting tends toward the cartoonish (not in a good way), and the story is built on a series of illogical motivations.

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.

From the start, a comprehensible, if necessarily simplified, sense of an extremely complicated moment in history.

The performance itself (which aired on PBS and is available on DVD) apparently went perfectly; given the potential pitfalls that Miller documents, it's some kind of miracle.

Gilroy has brilliantly played to his strengths in Spring Forward. With a story that has no room for big, obviously "cinematic" effects, he concentrates on simple staging, unobtrusive (though often beautifully evocative) visuals, and sheer performance. It's a decision that pays off.

Altman's technique also allows his huge cast to act up a storm, in the best sense. Gosford Park has roughly half the best actors in England in it.

This use of narrative irony is in fact not just the central joke; it's the only joke. And as a result, the movie slightly overstays its welcome.

Were it not for the gravity of the setting, the movie could just as easily be a comedy -- with everybody play-acting and doors opening and shutting and the repercussions of lies multiplying geometrically -- as a drama.

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.

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.

Worth watching.

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

Enjoyable, if utterly stupid, upscale entry in the old Amityville Horror genre -- that is, a horror film allegedly based on spooky and inexplicable real-life events.

It's unlikely that anyone will be bored. But it's just as unlikely that anyone will be swept off his feet either.

The various talents on display aren't enough to overcome the sheer blandness of the material.

Indeed, the best that can be said about The Majestic is that it may boost Capra's reputation by virtue of comparison. Apparently, it's not so easy to weave that kind of magic.

Pretty hysterical.

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.

It's an interesting, often worthwhile, film, but humor isn't its strongest attribute.

While Imamura films generally have their droll moments, this is the most blatantly comic work he's done since the '80s -- richly entertaining and suggestive of any number of metaphorical readings.

The plot may be nothing, but the film is something indeed.

Not everything in the film happens according to the traditional, overly familiar blueprint.

Williams is so unique that his presence automatically changes any project he stars in. Surprisingly, in this case, the change isn't particularly welcome.

This is not exactly original, but Schaeffer and his cast manage to make it tolerable.

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.

Given how uninvolving Summer Catch is, the truly remarkable pitching here was not so much on the mound as in the executive office where someone convinced Warner Bros. to green-light this turkey, which should have been called Good Will Hitting.

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