Gregory Weinkauf

An affecting film, but it just may not be everyone's cup of cyanide.

Doesn't even play fairly by its own rules. What emerges isn't a romantic comedy at all, but rather--very much like "The War of the Roses" a few years back--a cleverly disguised monster movie.

what we've got here is a little propaganda film. A mild one, certainly, but the cliché of DIY hopefuls (band) versus the Big Machine (music industry) foments the same tedious struggle of art versus commerce.

Once Connell finds his feet, he just may stride forth with his Important American Movie. Until then, The Opportunists is simply a whiff of great unwashedness yet to come.

Knockout's heart is in the right place, but it drags because of tedious earnestness and shallow "You go, girl!" feminism.

This movie's just so-so, but at its heart lies a true leading lady.

If only the sum of this thunderously self-important "true story" outweighed its often fabulous parts, but it resorts to throwing up hollow icons in that most ignoble of losses, the expensive mediocrity.

Hypochondriacs and germ freaks may dig it.

Sensational yet sadly unsatisfying.

Another disposable kidnapping thriller.

Satisfying in its setup and execution, and the Catholic guilt streaked through its dank, rainy atmosphere serves it well. Nonetheless, the story's subtleties in this version are often outweighed by melodrama, sometimes verging on sap.

All in all, this is every inch a TV movie.

Tethered to screenwriter Gail Parent's adaptation of Dyan Sheldon's novel, plus the demands of bigwig producers, it's a testament to Sugarman's artistry that she sustains her funky playfulness--a hallmark of her earlier work--throughout most of this film.

Loses significant points for its lazy story and complacent delivery.

Despite the tighter rewrite and the slicker production, it's obvious that Shimizu is still searching for what scares him, and until he finds it, he doesn't stand--ahem--a ghost of a chance of frightening us.

Beneath its satisfactory chops this movie -- like Ms. Croft herself -- is stuffy and soulless.

This trifle is better approached as a suburban haunted-house attraction thrown by enthusiastically confused teenagers. It's a little bit eerie, completely disjointed and sporadically amusing--kind of like "Lost in Translation," but with wanton slaughter. Do not expect more.

This elegant vision of sexual roles is certain to make a lasting impression and is likely to provoke explosive dialogues in Denny's and sidewalk cafés from here to Monaco.

While it's marvelously refreshing to observe Mother Nature obliterating L.A. and New York along with caricatures of ghastly world leaders, almost everything good is in the trailer, save perhaps brief run-ins with malevolent wolves and Ian Holm.

A sharp and pungent distillation of the book. However, as far as the theme of childhood under duress goes, I found "My Life as a Dog" or the stridently Irish "Into the West" to be significantly more fulfilling.

Visit Red Planet, and you'll boldly go where everyone has gone before.

Austere little creep-out.

You'll get that $8 nap you've been craving.

Sadly, though, the movie as a whole feels blatantly dedicated to fleecin' da kidz.

Don't expect to be wowed by a vast spectrum of delicacies, as the buffet here is composed of entirely obvious ingredients.

Thing is, movie's 100 percent mystery-free, but mildly creative, mixing Psych 101 with cynical Hollywood in-jokes with Tylenol-sponsored grainy-cam footage. Best revelation is source of Myers' superhuman strength: eats big rats, apparently.

A very dull movie.

Very sketchily based upon "The Reluctant Debutante" (minus the charm, plot, and characterization).