Barbara Shulgasser

The whole thing seems awfully familiar, not to say boring.

Tennant and company do a fine job of retaining the otherworldliness of a fairy tale while at the same time explaining all the archaisms for a modern audience.

Dalmatians proves an apt playground for Hughes as one could surmise that his inspiration for treating comic bad guys in his movies so violently comes from a cartoon sensibility.

While Birdcage has many isolated funny moments, long bits of slowness interrupt the energy.

Eastwood is perfect as the bad guy (a thief) you root for.

It was the adult in me that wept when the movie ended. Take the kid and have a good time.

Mangold's vision is bold. There is nothing cutesy or gimmicky about Heavy, which may be why something in its grimness recalls the work of Ingmar Bergman.

It isn't as charming as "Beauty and the Beast" or "The Little Mermaid" (especially musically), but it's an easy-to-swallow entertainment.

Ransom is every bit as taut and expertly directed, and it's another in the emergency genre, one in which Howard excels.

On the whole, the movie is a success. I still hope that children and their parents will read this wonderful book together, but it's nice that there's a movie they can see, too.

The most refreshing performance is by Mortensen.

Aside from avuncular Lewis and two-bricks-shy-of-a-load Dunaway, this movie's greatest asset is Depp. With his scooped-out cheeks, flower petal mouth and an innately balletic approach to communicating with the camera, he is as natural a performer as film has seen in many years.

Director Cassavetes may want to cut back on the slow-motion stuff, but he's unquestionably a talent.

While I was watching "Lone Star," I realized that what makes Sayles a good and socially responsible person - his ability to look at one thing a hundred different ways - is exactly what makes him a muddy filmmaker.

You find yourself absorbed in simply looking at them to the extent that it's hard to hear what they're saying. It's a nice dilemma for a movie to present.

Amazing comic performances...give this comedy its lovely manic pace, kept just within the realm of sanity.

Giving especially good performances are Aniston, Mahoney, McGlone and Burns. Not that this movie is bad; it's just not as great as "McMullen."

The action moves along at a good clip, and Apted, who made "Gorillas in the Mist," "Nell," "Coal Miner's Daughter," and the "7-Up" series of documentaries, doesn't allow the plot to bog down in details. But the so-called moral dilemma that Myrick's work poses - kidnapping the homeless and torturing them to death in the name of medical science - is laughable.

It's as sunny as you would expect a Hanks project to be.

This movie has everything.

Lou Holtz Jr.'s script is a clever, half-serious indictment of television.

Leaves the audience on such a devastatingly dramatic ledge.

Resistant as I was to the idea of a remake, I have to admit that Pollack has made a movie that stands on its own, without odious comparison, as an entertaining love story, particularly if you've never seen the original.

What's best about this script is the premise: a lawyer who doesn't lie.

Ryan has an edge that is extremely becoming…This is her best work yet.

The movie is magnificent and stunning the way few spectator events are.

Douglas Carter Beane's script is so wickedly clever (the title refers to an autographed photo the drag queens carry with them), you come away from this film with the impression that you've had a much better time than you've actually had.

A handbook on cinematic lucidity. All events are described clearly. Motives of all the characters are set right there on the table next to the pasta for our consideration.