Bill Gallo

This plodding mediocrity displays none of the flair or the compelling trickery that enlivened its 2002 prototype.

If there's any justice in moviedom, this summer's feel-good hit will be an unassuming Dutch comedy called Everybody's Famous!

This romantic tragedy has the measured gentility of the M.I. classics, but its sheen of crass melodrama is startling, and its many metaphors run amok in a tangle.

Analyze This won't win any Oscars, and its comedy is pretty tortured in places, but the pleasures of watching DeNiro onscreen never diminish--not even when he's putting the glories of his criminal past at risk.

There are many winning moments here, but director Nigel Cole (Saving Grace) sometimes imparts to the thing a terrible case of the cutes and an overeagerness to please.

En route, we also get a chance to examine the nature of the self and the responsibilities of science. Das Experiment has all this and more, excitingly packaged as a prison movie featuring superb performances and high emotional tension.

A fascinating, highly literate film.

The result is a kind of quirky, high-toned soap opera.

By all accounts, Marsh has absorbed classic crazy-killer thrillers like "Psycho," "The Night of the Hunter" and "Badlands," but The King isn't likely to join such esteemed company.

This is not the easiest film in the world to untangle, but our attentions are soon rewarded.

As American history, Glory Road is by turns inspirational and thrilling. But, in keeping with Hollywood's gift for exaggeration, a couple of things about it are completely bogus.

For Caan's shtick alone, The Yards is worthwhile, but we may also be witnessing the emergence, in Gray, of a young filmmaker who's just starting to find the range.

A former yeshiva student himself, Gorlin turns this tale of political intrigue and the search for divinity into an act of liberation -- if not outright defiance.

There is more anxiety than loving humor in the proceedings, and a noticeable lack of charm.

Hopkins' beautifully detailed, deeply felt acting remains a joy to watch...But an even greater pleasure, at least for my money, is Kidman's dark turn as Faunia Farley.

Director Thomas Carter (no relation to Ken) relies on processed emotion and stock characters, and not even the inevitable Big Game excites us very much.

Despite his natty wardrobe and calculated sangfroid, Penn doesn't summon up quite the right image.

Thanks to Spielberg's vivid storytelling and Hanks' matchless gift for bringing the common man to life, this is a relentlessly charming movie.

This first generation of Native American movie directors has already managed to make great strides: While prodding the collective conscience of the U.S. mainstream with their disturbing views of the reservation, they have also opened the door to a vibrant spirit world unknown to all but a few.

Whatever Dark Blue World lacks in pyrotechnics it makes up for with richly drawn characters, high drama and pointed historical ironies.

Homer would be hard-pressed to find any remaining shred of "The Iliad" in this over-the-top entertainment. It has a lot of loud passion but not much poetry, and that's appropriate for a movie that could well be subtitled My Big Fat Greek Bloodletting.

Shades of "House of Sand and Fog," without the compelling drama.

This highly sanitized, heavily costumed, dramatically inert nonsense makes last year's dreadful golf biopic "Bobby Jones: Stroke of Genius" look like a masterpiece.

Here is "Who's Afraid of Virginia Woolf" inflated to lethal proportion, or "The War of the Roses" reimagined as World War III.

This is a Tom Cruise vehicle, pure and simple, and that means it's destined to be the biggest chunk of guilty white-boy wish fulfillment since Kevin Costner got down with the Sioux in "Dances With Wolves." In fact, the parallels are all but plagiaristic.

Some Marvel fans and die-hard devotees of Lou Ferrigno, the bodybuilder who played The Hulk on television (and who does a brief walk-on here), may find Ang Lee's whole enterprise grandiose and, given its not-always-successful attempt to fuse brains and brawn, a little bit silly.

As a musical feast, Groove works well. As a celebration of tribal ritual, it's even better.

Yet another version of the conscience-stricken white soldier Kevin Costner played in "Dances With Wolves" and the Indian killer-turned-noble warrior Tom Cruise gave us in "The Last Samurai."