Bob Graham

There are barrages of fast cuts to distract us from the fact that the director is showing us no real action.

Wants to be a brightly colored bubble but has trouble getting aloft.

It's good for a few guffaws and chuckles, but in between the screen has a tendency to stretch at the corners and go flat.

A daring, free-spirited and ultimately moving performance by Benjamin Bratt lies at the beating heart of Pinero.

Has all the elements of a satisfying movie except knowing when to stop.

A sly variation on the buddy movie.

Appealing, and ultimately moving.

At least a half monty.

Amusing enough.

Frequently hilarious.

Not half-bad. It's about three- quarters bad, actually, but what's left offers some goof-off fun.

There are times when watching this film is like a near-death experience.

Don't even try to make any sense of this --none of it elicits a moment of genuine concern.

The thriller is populated by the usual dimwits who stumble into horrific situations and don't have the good sense to leave, and it tries to pass off some of the sorriest excuses for zombies ever seen.

Adam Sandler finally has a good excuse: The devil made him do it.

The ridiculous complications might have worked if there had been an awareness of how absurd they are.

The no-sweat clunkiness of the detective plot becomes kind of charming.

Seems it's never going to reach liftoff.

Won't work until the film comes out on video.

While it is a spectacle of animatronics, digital graphics and other special effects, the actors are never overwhelmed by them as personalities.

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.