Barbara Shulgasser

One of the most blithely, giddily ridiculous movies to come along in ages.

There isn't much to hold onto with this movie. If anything, Cry trivializes the plight of the South Africans in its breezy treatment of apartheid.

Nostalgia has no real point to make here. All that Famuyiwa can hope to accomplish is to tell his story well. In this area he is less than competent.

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.

The movie, directed by veteran Jonathan Kaplan, has enough in common with such American-in-foreign-jail movies as "Midnight Express" and the recent "Return to Paradise" to make you wonder why it ever got made.

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

Martin Scorsese is certainly one of the great living movie directors. Sadly, this does not mean he can't make a mistake. Kundun is a mistake.

Not even his gap-toothed charm and willingness to make fun of his usual take-no-prisoners persona made it easier to swallow the mess of pottage that is Jingle All the Way.

There isn't much to recommend this movie until Pacino and De Niro finally share the first of their two scenes together.

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

Most of these scenes are long, boring shots of the men aiming their rifles nervously into the mist. Truth may be stranger than fiction, but fiction is more artfully arranged.

What director Charles Russell ("The Mask") and co-writers Walon Green ("RoboCop 2") and Tony Puryear do right is supply the kind of non-stop action and laconic one-liners we live for in Arnold movies.

A filmmaker of Jordan's capability is not likely to make anything less than a competent, watchable movie, and that Michael Collins is. I think content rather than form detracts from the cogency of the finished product in this case.

Director Joel Schumacher and screenwriter Akiva Goldsman seem incapable of emphasizing what's important and relegating the rest to secondary status.

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.

So while at times, Penn's film is moving and insightful about the way the heart survives tragedy, at other times it seems to have been made by a gifted schizophrenic who thinks that weird behavior is perfectly normal.

The artificiality peculiar to moviemaking rubs up counter-productively against the artificiality peculiar to live theater, making the movie version of Gray's material seem arch, contrived and starchy, not the spontaneous eruption that his theater work manages to resemble.

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.

This bloated, self-important and logically absurd movie, made by the director of the equally historically hysterical "Forrest Gump," pretends to the thrones of Serious Thinking, of Important Messages and of Intellectual Provocation. If there were truly anything serious, important or intellectual about this movie, this planet would be in big trouble.

Director Simon West makes an impressive feature debut in this relentless action-comedy that is, more than anything else, about how funny it is to see hundreds of people exploded, shot, knifed, propellered and burnt to death, and how to land a plane on the crowded Vegas strip.

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.

There may be better ways to waste your time than seeing this movie.

Tom Lazarus and Rick Ramage should be ashamed to have written such nonsense.