Emanuel Levy

Awash in romantic nostalgia for bygone childhood spent in summer camps, Indian Summer is a sentimental, TV sitcom-like, feel-good film. However, its humor and first-rate acting could ensure a strong opening and modest longterm B.O. life.

Lacking the manipulative structure of "Speed," which shrewdly interspersed rousing set pieces throughout the story, Speed 2 is vastly uneven, trying in its second hour to recoup energy and compensate the audience for all the exposition of the initial reels.

Shrewdly made with an eye for the global market, where the Belgian star is more of a draw than he is Stateside, pic features visually exciting set pieces in alluring tourist sites, putting the audience in a pleasantly mindless state of disbelief.

Unlike "Four Weddings," which ultimately was moralistic and conservative in its message --—About Adam is a frolic free of any judgments, and marked by Stembridge's sparkling wit.

Darkly comic, vastly entertaining and utterly original.

Her (Foster's) performance is contained in a schmaltzy, ultra-elaborate, overly long production.

A tautly focused, well-executed drama. Demonstrates that it's still possible to make small, intimate and personal movies within the Hollywood studio system.

Isn't even unintentionally funny enough to qualify as guilty pleasure a la "Valley of the Dolls."

Gattaca, New Zealander helmer Andrew Niccol's impressive feature debut, is an intelligent and timely sci-fi thriller that, with the exception of some illogical plot contrivances, is emotionally engaging almost up to the end.

Boasting sublime imagery, but no characters to ground his reverie, the new pic heavily relies on an opaque narrative and elliptical editing.

Steve Zahn shines throughout Mark Illsley's feature debut, Happy, Texas, elevating this eccentric small-town comedy a notch or two above its level of writing.

The fun that Schlesinger and his first-rate ensemble must have had while working on this production is infectious, for there isn't one dull -- or quiet -- moment in the film.

Sporadically entertaining, though it lacks the kind of political urgency and emotional resonance so crucial to many similarly themed '70s movies.

Almost every element in Art of War is slightly off.

Beautifully detailed and deftly structured, every scene in The Apostle logically leads to the next one, each elaborating on the central theme of religious redemption.

As always, Techine is excellent at exploring “tiny” personal flashes that assume larger meaning when placed against the broader historical context.

Gilliam's work is long on sensibility, short on sense.

The stylistic devices used, which recall early Woody Allen and Paul Mazursky, get increasingly tedious, disrupting not only the sequence of events but also squelching audience sympathy for the protagonists.

Mounted as an art film and is likely to divide both critics and the helmer's fans.

Greg Mottola's feature directorial debut, is an amusing farce about the delicate intricacies and imbalances of a modern marriage. A spirited cast, including old pros such as Anne Meara and younger talent such as Parker Posey, elevates the basically sitcom material into something fluffier and funnier than its nature suggests.

Meticulous, sumptuous production design, and striking visuals compensate for the lack of dramatic momentum in a film that arguably stretches narrative form to its limits.

Armstrong and Jones smoothly navigate the magical tale through numerous shocking twists and turns until they bring it to a most logical, emotionally satisfying conclusion.

The endlessly resourceful Nicolas Cage, as a celestial angel, and a terrifically engaging Meg Ryan, as a pragmatic surgeon, create such blissful chemistry that they elevate the drama to a poetic level seldom reached in a mainstream movie.

Aiming to instruct as well as entertain --- and often struggling to reconcile these two divergent goals.