Charles Taylor

Fincher is still working on the assumption that he has better things to do than entertain an audience. Which would be fine if he weren't drawn to such schlocky material.

Manages to be entertaining and reasonably exciting. Scott's style may be slick and tricky but, if this and his last film, "Enemy of the State," are any indication, he's lost the glossy sadism that characterized his previous work.

If there were any justice in the world, The Cat's Meow would be the beginning of the rehabilitation of Davies' image.

It's fun, but it isn't believable for a minute.

Kevin Smith's comic-religious fantasy turns out to be the sweetest hot-potato movie imaginable.

If Jackie Brown lost 45 minutes, it might have been a snazzy entertainment. As it is, it wears out its welcome well before the end.

If you've ever sat in a jet waiting on the runway, feeling it lumbering along in place and then bucking and shaking when it's cleared for take-off, you know what it's like to sit through Air Force One.

It's a mess, and a ridiculous golden shower of toilet humor. But Mike Myers' superspy spoof still provides the summer's purest movie delight.

There's nothing in either the conception or execution to lift it above a TV-movie tear-jerker.

One of those rare literary adaptations that finds its fidelity in freedom, that stands as both a fitting version of its source material and as its own creation.

This hot-button picture isn't especially well thought-out, but it might be crafty and manipulative enough to rile up audiences.

May be the shoddiest and most incoherent piece of big-budget action moviemaking since "Armageddon."

As Tolstoy observed, all sappy ethnic family comedies are the same. None is sappy in its own way.

The Negotiator slogs on for two hours and 20 minutes, and there's hardly a real laugh or a genuine thrill in it.

Here's a real mystery: How can John Cusack, Gene Hackman and Dustin Hoffman, acting in a John Grisham thriller, be so dull?

The movie seems to proceed from somebody's notion that it would be hilarious to see a black guy and a Chinese guy working together.

With one foot in the grind house and one in the art house, the smarts in Freeway are more than equal to its visceral kick.

On Her Majesty’s Secret Service is the only Bond film that gets beyond the dirty boy’s-book spirit of the series to a core of real emotion. It also has what are probably the best action sequences of any 007 adventure.

Offers the most intense visual experience I've had at the movies all year.

The 1996 kidnap drama Ransom traverses the parameters of public life in America, from the image public figures present to us to the image they never intended us to see. Neither one tells the whole truth. Luckily, Ransom isn't content with surfaces..

In "Buffalo 66," Gallo was an unfunny prankster. In The Brown Bunny, wearing his heart on his sleeve, he's a real filmmaker.

As events in Mr. Jealousy grow more entangled, there is no corresponding escalation in the pace of the movie, and Baumbach misses out on some laughs...But Mr. Jealousy is one of those movies where the less assured passages are a good sign, the mark of a director trying something new.

If Enduring Love doesn't make sense as a thriller, it's equally nonsensical as the parable it wants to be.

Anti-Americanism is a small matter when a movie is anti-human. Dogville is as total a misanthropic vision as anything control freak Stanley Kubrick ever turned out.

A trifle but an exceptionally civilized, charming trifle.

The picture starts off slick and amusing, gets convoluted, draggy and strange round about the midway point, and ends up just plain ludicrous.

In his dazzling and luxuriant new thriller Femme Fatale, De Palma turns trash into chic. It's a sexy, violent, glamorous, sinfully funny movie with a surface as hard and brilliant as diamonds.

Sructured like a Mad magazine parody where there's a promised joke in each frame. It doesn't add up to a movie.