Frank Lovece

Stiffly animated and featuring uninspired songs.

So bewildering it's almost entertaining, this comedy of fiftysomethings and their extramarital affairs is one of those films you can actually see flailing for life.

Sometimes seems as noisy and unrefined as Jean himself. But it has just as much heart, and builds up to rousingly "Rocky"-like climax.

The characters may be one-dimensional ciphers with nothing much to say, but boy, do they not say it with style.

This lively and nicely timed comedy has plenty enough, farce, slapstick and even drawing-room humor.

The film's one saving grace is 18-year-old Ellen Muth, who gives one of the screen's most natural, non-Hollywood portrayals of a child.

Thought-provoking but proceeding at a crawl, the film suffers from performances that are virtually all pitched to the same note of existential ennui -- thank goodness, then, for Rush, who's arrives like a wake-up blast of compressed air.

Manages to inject more than a little humor into this tension-filled genre classic.

Never has the adage "You can't help who you fall in love with" been more lavishly illustrated than in this historical drama.

A brilliant surrealistic joke about a group of friends whose attempts to dine are continually thwarted.

Inconsistency of tone and internal logic plagues the film throughout.

With grace and cleverness, mixing romance and comedy in a genuinely delightful way.

The film is a harmless extension of the skit, aimed at fans and best viewed as a showcase for Meadows's considerable talents.

It's a classic fantasy scenario, overflowing with creative possibilities, but Carrey's Nolan isn't charmingly misguided or comically loathsome enough to deserve the lesson; he's just a big, inconsequential crybaby.

A rare sequel that's better than the original.

This ORANGE is a lemon.

The movie's uninspired animation (including primitive, blocky computer imagery) doesn't help, nor do its astonishingly stereotyped characters.

The title of the film is most unfortunate because it gives no indication of the film's stark theme. Moreau is good as the disenchanted woman, but Mann is less effective.

This may be the warmest movie the Coen brothers have ever made. There's something unmistakably human beneath the oh-so-clever surface.

Screenwriter Christopher McQuarrie's tough-guy dialogue and Bryan Singer's crisp direction give the ensemble cast every opportunity to shine, and they do.

A radiant, heartbreaking film.