Gregory Weinkauf

Akerlund and crew use their full arsenal of lenses and editing techniques in service of leaving you spun, but it's undeniable that this movie was produced by steady hands and thoughtful minds.

A visionary breakthrough for the young directors, a darkly alluring and largely successful attempt to crowd the territory of Roman Polanski and Dario Argento.

It's light fantasy, but lovely and astute.

If only director Walter Hill and his coscreenwriter David Giler had scribbled a punch line for all these punches, this rage-in-the-cage redux would be more than merely a limp showcase of machismo so passé as to embarrass your average Australopithecus.

At last Dreamworks has given us the stuff of nightmare.

We're in for a long, unpleasant, reactionary ride.

Heavy-handed, saccharine message somehow goes down good.

What makes this movie special is the meticulous attention placed on each of its characters, employing them not in the traditional "melting pot" manner that is so common, but as part of a grand mosaic that actually seems to be worth sharing.

A big gob of fun.

The effects are smashing, yet there's a heart behind them.

As detached and unfocused as a college pothead. And about as much fun.

With a movie like this, there's no risk of spoiling the ending, because the entire plot is merely a formality trudging toward a foregone conclusion. The viewer's biggest challenge is to survive fits of yawning so violent they could disrupt ornithic migratory patterns.

The new version by Harold Ramis trots out a load of bargain-rack gags, tarted up with pricey effects for the A.D.D. generation. Woe to those who cannot leave well enough alone.

Bellyflops into the increasingly complicated American high school experience with a healthy reservoir of wit.

Although Morrison's drama feels increasingly forced and manipulative as the movie rolls along, the movie is competent if painfully predictable.

An animated extravaganza of Gallic wit and soul that delivers more wild humanity than many of the year's live-action features. In a word: go.

Heartbreakers' implausible level of comedy just grows tedious, as it's neither smartly witty nor full-throttle absurd.

A beautiful and timeless achievement, Conrad Rooks' 1972 adaptation of Herman Hesse's appropriation of East Indian mythology still entrances.

Overall it's reasonably thrilling anyway. If you're hoping for a brilliant revisionist take on the franchise, forget it.

This film is a miracle, an extravaganza equal to its predecessors and in some ways more stunning. It is a profound testament to the extraordinary power of moving images and sound.

A nifty little war movie that defies convenient categorization.

This thing moves brilliantly, sparkling like nothing we've seen domestically since "The Wiz" or "Xanadu."

I love it, but much in the way I managed to love "The Phantom Menace" -- in spite of its bloat, swaggering self-importance and largely neutered characters.

While this production from Michael Douglas is being touted as a sexy romantic comedy, it's more precise to think of it as big loud fun for when you're feelin' dumb.

I Am David is by far the best after-school special to hit the big screen this season.

It's a likable enough smorgasbord, from its trendy Irish locations to Andy Summers turning in a Beatles cover to occasional giggles and gasps.

What we have here is an historical document of inestimable value, describing in no uncertain terms the terrible and beautiful times before AIDS.

Here's a popcorn movie with soul, welcoming the masses to consider how much can change in popular culture over 30 years, as the horrific becomes the familiar.