Chris Kaltenbach

But the fine performances of all three leads rise above the cliches, giving the film a sense of reality that both impresses and inspires.

While Bresson's insistence on juxtaposing brute force with sublime grace isn't subtle, it is effective.

Russian Dolls never resorts to sitcom moments as it explores the transformation of friendship into love. All the characters here are believably appealing and refreshingly three-dimensional, and the situations they find themselves in have the ring of truth. You leave this film wanting to know these people, wanting the best for them.

Offers a welcome perspective, reminding us that extremism in the name of a values system is nothing new -- not even on these shores.

So what do we have here? Lots of cars going very fast.

Anyone who isn't charmed by the idea of a Beetle crossing the finish line first is either chronically churlish or isn't trying.

Ben Affleck and Gwyneth Paltrow are so immensely appealing, and their chemistry together is so unforced, that their presence alone makes a movie worth seeing. Thankfully, Bounce has even more going for it.

Latifah's performance and the film's gentle heart should prove enough to win over even the most churlish.

Star Maps is the work of a talented group of young actors and filmmakers anxious to try as much as they can and see what works. Not all of it does.

It's turned Stone's Catherine Tramell from a warning sign for the dangers of wanton sex into the last thing you'd figure - a bore.

A celebration of movie-studio ohana that should warm the hearts of moviegoers everywhere.

Isn't perfect, but it's fun, and Tim Allen shines

Just plain bad.

Both a condemnation of torture as a political tool and a tribute to the bravery that exists within everyone.

If you do insist on seeing this film, don't arrive late: the clever, animated opening credits are a stitch, suggesting a sprightliness of touch and winsome wickedness of tone that's missing from the rest of the movie.

Chaos, in miring itself in the inequities (not to mention obscenities) of male-dominated culture, is after greater truths.

One gets the feeling Kaufman was so intent on putting fury and fanaticism on-screen, he forgot about having it serve any greater purpose. Which makes Quills the film equivalent of one of de Sade's novels: artifice, without art.

A mess.

Looming large over all this is Jackson, who glowers and growls and acts the hero better than any actor out there.

There's a persistent innocence to this movie that will work wonders on all but the most churlish.

One of the year's most unsettling -- and perhaps most illuminating -- films.

This is a movie about guns blazing, men punching, speedometers straining and explosions exploding. On all those levels, it succeeds just fine - which makes for a great amusement-park ride, but perhaps not much of a movie.

This is not a great film by any means, too filled with stock characters in stock situations for such praise. But if offers screen time for some fine young actresses, and addresses its story to an audience of teen girls who deserve something to identify with.

A film that immerses its audience in the Indian culture while telling a universally appealing story of grace under pressure.

Whenever its noble aims miss, Bruce Willis saves it.

A film that celebrates the intricacies of life in ways both splendid and mundane, revealing it all with unflinching honesty.

At least The Honeymooners is not one of those remakes that looks bad compared to the original. It's just bad, period.

Scores some serious points for its dance moves but does a lousy job of remembering there's a lot more to this big old world than moving your feet.