Gene Seymour

The gags, almost all of which involve the passage of gases and liquids, move at a fast-enough clip to keep you awake throughout. For which this review expresses a sorrow as profound as the sympathy it feels for all the actors.

Sophisticated romantic comedy for people who think "Corky Romano" is trenchant political satire.

An unintentional parody of every teen movie made in the last five years. Which can be the only rational explanation for making such a mess all over the screen.

Rarely have a novelist and filmmaker been better matched.

Control keeps you riveted in ways that "24 Hour Party People" doesn't, primarily because of the investment of craft and conviction by all concerned.

Has the right mix of sugar and spice for a satisfying rush.

It's no use expecting Return to Never Land to match, much less exceed, Disney's 1953 version of "Peter Pan," which by itself isn't quite in the uppermost tier of the studio's full-length cartoons.

An undervalued 1978 thriller with an ingenious script by Curtis Hanson. [23 Feb 2001, p.18]

You might start to seriously wonder if there's a way to get this woman to run for office here in America.

Though Aliens of the Deep flirts with Zissou-Murray's divine madness, Cameron's vision seems somehow cozier. No wonder he's not yet ready for dry dock.

The movie's clatter and whiz-bang suggests more humor than there actually is.

Only the innate sweetness of both its lead character and its base premise keeps you from wanting to slap Deuce Bigalow: Male Gigolo upside its mangy, empty head.

Succeeds best when it intensifies its focus on the work and life of its main subject, seen in interviews, home movies and in a climactic performance with Bono and the Edge on "Tower of Song."

As with any Ozon film, Time to Leave comes across with unexpected moments of illuminated stillness.

Skip it. Just fill in the blanks and you too can brew the same bland, goopy mixture, right down to such clunker lines as "There is a Santa Claus, Ma. He just doesn't come to Brooklyn anymore."

There are enough grace notes and gentle surprises strewn along this well-trod path to make Just Looking just good enough to justify Alexander's career move.

One of the least sensationalistic--and therefore, more unsettlingly plausible--visions of prison life ever transfigured into big-screen drama.

What emerges from Arlyck's musings is a penetrating cinematic essay on how generations in the last century struggled to take hold of history and reconfigure the shape of daily life.

A laid-back excursion through the "Star Trek" phenomenon that boldly goes where millions and millions of fans have gone--in and out of costume.

But what little humor there is in the movie becomes subservient to the grisly violence, gratuitous cruelty and ugly car chases.

All told, this is going to make passable television. Eventually.

Edmond does, on the surface, seem very much a contemporary tale of urban terror. Yet despite the best efforts of all concerned, what seemed explosive and provocative two decades ago now comes across as schematic and artificial.

A coy, frantic attempt at screwball comedy, lightly seasoned and more than a little gummy.

It looks as if no one bothered to deliver more than the minimum requirement of magic or artistry.

A spicy little pastry with just the right proportions of flakiness and gooeyness.

What you have here, essentially, is a classic "Honeymooners" episode juiced with tropes from the most recent "Rocky" movie.

The movie falls short of the grandeur it's reaching for, but if you're looking for balm to soothe your frazzled nerves, you may be able to scrape some from the movie's rawer edges.

The movie, with all its brashness and crassness, can still claim noble motives in encouraging insecure young people to seek the pop diva buried deep within.