Desson Thomson

Given the creative recession in the movies, you could do worse than sit through Patriot Games. If this would-be blockbuster slavishly follows summer movie guidelines, it does so well -- or adequately. Neither poisonous nor great, it never loses sight of its mall-movie mandate, to defend American hearth and home against invincible boy-toy bogymen.

Compelling, if sometimes grittily depressing, viewing.

A gee-wonderful virtual visit to the arid orb, which uses ingenious technical sleight of hand to -- let's face it -- fake it beautifully.

Proceeds with an episodic pace, full of narrative twists and turns that clearly are not pretested by a Hollywood committee. Things feel sort of strange and original all at once.

Treat this project as you would a safari: It has its slow parts but the wildlife makes it worthwhile.

There's a lot in this movie, simple, big, small and exciting. It's the year's first serious contender for big prizes. What's not to like about this picture?

Quite unintentionally, Ildiko Enyedi's My Twentieth Century demonstrates the importance of a good story in a film. The movie doesn't really have one, but this shortcoming, which keeps the Hungarian film unmistakably shy of greatness, is its only fault.

The writing (by Bill and Cherie Steinkellner) has a non-sentimental appeal for that young preteen (and early teen) crowd that fancies itself too cool for kiddie stuff.

Wonderfully silly all the time.

No matter what is going on in the story, these star-crossed lovers are always fascinating to watch.

There are extremely touching moments between Jesse and mystical Randolph, who seems to understand just about everything; and, more tellingly, between Jesse and mechanic Jim.

Watching "Henry" is very gratifying on a nonintellectual level. Director Mike Nichols moves through this story through the appropriate emotions with linear simplicity. Ford, who goes from control freak to powerless (but triumphant) child, makes the rather one-dimensional redemption work.

A museum piece, something to be enjoyed for its historical value. [2000 re-release]

Works because of its heedless, heart-on-its-sleeve spirit.

We are amused. We are not sputtering into our teacups, but we are chortling lightly.

Extraordinarily poetic, suspenseful film.

Beaufoy and Cattaneo handle this potentially racy material with an engaging balance of good taste and outright slapstick.

Polanski, himself a survivor of Nazi-occupied Poland, has created a near-masterpiece.

Elle fans will likely ignore the narrative shortcomings in favor of a well-loved character.

Isn't just a fabulous seagoing spectacle. It's one for the ages.

Enlightening, if structurally relaxed documentary.

This movie, directed with precision and an appreciation for (relatively) rich character texture by Sam Raimi, remembers all the fine elements of the original film (and the comic book story). It reprises them perfectly, including wonderfully choreographed, skyscraper-hanging fights.

Within its narrow, unambitious, commercial boundaries, the movie is highly watchable. Lowther is appealing, and Costner is a likable rebel.

Oddly compelling.

Want to see something strange, funny, twisted, brilliant and macabre? Sure you do.

The story (adapted from Andrew Neiderman's novel by Jonathan Lemkin and Tony Gilroy) is surprisingly well-handled, given its rather crazy premise.

The Batblast of the summer.

Manchurian, with its fatalistic, dreamlike quality, comprises two of [Frankenheimer's] finest hours. [Re-release]