Chris Kaltenbach

This depressing look at love isn't quite worth enduring.

The whole thing is too giddy to be taken seriously and too much of a confection to leave much of a lasting impression. But for 140 minutes, at least, it should give non-fanboys at least an idea of what all the fuss is about.

This delightful, if perhaps too calculatedly winsome, comedy presents seniors who are coping with emotional and physical losses and challenges them to act like the young people they still are at heart.

The result is a highly critical and impossible-to-dismiss examination of the administration's rush to war that is sure to move both sides of the political spectrum to apoplexy.

Would have been better served if Carrera had spent a little more energy developing his story and less on emphasizing his message.

The Clearing reminds us what a riveting presence he (Redford) can be.

New York Minute isn't High Art, but it is highly entertaining, especially if you're a member of its target audience.

It offers top actors in Fiennes and Richardson, plus a rare joint appearance by the sisters Redgrave.

For at least two-thirds of its length, all elements combine for a taut thriller, a Hitchcockian exercise in suspense pitting human frailty - can our minds be trusted? - against human resourcefulness.

When Crews is onscreen, White Chicks is a film that fears nothing and no one. When he's not, it's a film too tentative and soft-hearted to scale the farcical heights to which it aspires.

Don't go expecting a good time to be had. But by all means, go to revel in a movie that, for about two-thirds of its length, is Mamet at the top of his game -- intelligent, tightly crafted, densely layered.

If only it had a plot mere humans could follow.

A film as clever and embracingly ribald as this shouldn't have to resort to cliche in the end; director Nigel Cole should have kept his girls in Britain and kept the mood light.

An action-adventure flick that could turn into this generation's "Raiders of the Lost Ark."

The Last Mimzy displays a gentle touch and the best of intentions. But the film's message never quite becomes clear; what, exactly, are young minds supposed to take away from this film?

The actors here are uniformly excellent, and the story has a definite lightweight charm.

Perhaps the best thing about Better Than Chocolate is that it works as a comedy of characters, not of morals. If there's such a thing as a screwball same-sex comedy, this is it. [10 Sep 1999]

Yes, the movie asks hard questions, but it would be better - or at least more honest - if it weren't so insistent that everyone arrive at the same answer.

Despite stellar work from the cast, the movie seems as emotionally distant from its audience as its characters are from each other.

Misfires by constantly tossing out liberal feel-goodisms.

"His eye is incredibly sharp and amazing, in regard to visceral cinema," says Uma Thurman, who has worked with Tarantino on both Pulp Fiction and Kill Bill. "He's a great storyteller. He's very seductive as a filmmaker."

Moonlight Mile leavens the mood occasionally, but it cheapens things by insisting that everybody onscreen and in the audience leavethe theater smiling.

Earns few points for originality, but scads for good-hearted exuberance.

Dawn of the Dead may depict the end of the world as we know it, but rarely has watching doom proved such a kick.

Moves along with great speed and verve, and it's got just enough of a sci-fi sheen to make things interesting, if not provocative. Philosophers and true believers may be disappointed, but for movie fans, I, Robot mostly delivers the goods.

All three actresses are appealing, but Fisher, proving her scene-stealing turn in Wedding Crashers was no fluke, shines brightest.

Heartstrings are pulled mercilessly in Dreamer.

True, the movie tends toward the treacly at times, and the children's mischievousness seems a bit forced. But Thompson's turn as a glammed-down Mary Poppins with an even more no-nonsense attitude is hard to resist.