Bob Graham

A surreal comedy about sex that comes as close to charming as Greenaway ever gets.

Handsomely weathered John Hurt, as Pelagia's father, gives a performance of such unhackneyed dignity that it provides a moral compass for the action and helps to keep the ricocheting emotional content of the film in balance.

What makes it interesting is the story that the viewer must put together, of a model who lives her entire life -- or at least what we see of it -- in front of the camera.

There is a very good movie stuck somewhere on The Thirteenth Floor trying to get out. Too bad this isn't it.

A tired and dispiriting affair that takes forever to get going.

There still is no life on Mars. Red Planet is airless.

Something so sappy, no one would believe me if I told them. It has to be seen to be disbelieved.

This poor excuse for a thriller turns, with a great crunching of gears, into a mess of a buddy comedy. Either way, it misfires.

The last 15 minutes finally get it together for what passes as a movie experience with a considerable "gotcha!" quotient.

When all's said and done, it turns out to be quite sweet-natured. OK. I laughed. So sue me.

Manages to do the impossible: It makes Lopez bland.

Beatty's "Heaven Can Wait," released in 1978, was a comic fantasy about a near-death experience. This new version is a near-life experience.

This lurid thriller comes to life in fits and starts, and then sinks into the bog of its own cleverness once again.

When a movie sets out to be awful and achieves its goal, does that make it a success?

Don't tell Mom, but everybody seems stoned.

Even if his (Stallone) own star may be fading, the popularity of car racing is enormous. These fans are not likely to be disappointed by Driven.

Doesn't look like a movie somebody made. It looks like a movie somebody hallucinated and put up on the screen.

What is bloody and full of holes?

Channels the spirit of Frank Capra in this serio-sentimental fable about a man who loses his memory but finds his soul.

The movie lacks the one thing that the classic "Three Musketeers" story can't do without: panache.

Gutter romance meets metaphysical thriller.

It's called One, and the hemorrhaging begins with the so-called story, which doesn't quite add up to one.

Turns into one long wallow.

This noir mystery is murkier than it needs to be, through no fault of Stallone's.

Dirty Work was directed by Bob Saget, who always seemed slightly embarrassed by his enormous success as the host of America's Funniest Home Videos. Now he's got something else to be slightly embarrassed about.

A hodgepodge of half-baked visual styles can't disguise the fact that this dismal thriller is all situation and no story.

It's standard slasher fare but has its moments.

Voyeuristically wallows in the sadistic violence it professes to deplore. What hypocrisy!

Nobody would claim it adds up to much of a comedy. It's strictly for someone looking for a goof-off.

No one is likely to claim it's a great, or even good, movie, but it does offer some guilty pleasures.

This land of sweetness and light may appeal to many, but to some it is going to seem like living hell.

Is it worth seeing once? Sure.