Hank Sartin

The action is exciting, but the rapid-fire narration jumps around too quickly, making it difficult to keep straight the personalities meant to hold the film together.

Director Zak Tucker is a bit too fond of jump cuts as signifiers of edginess. Still, when the material doesn't get in the way he's pretty good at getting across the emotional content.

All the male pulchritude can't make up for a muddled script.

Crudup takes a riskier path: his architect isn't very nice and is possibly irredeemable. His performance is subtle, complicated, and fresh, and it's a shame the movie doesn't live up to it.

Entertaining but forgettable action flick.

We're never allowed to feel much of anything for these characters, and as a result their agonizing over their lost past and uncertain future seems like whining.

Cohen and a crew of script doctors have thrown in some of the oldest cliches in the book.

In this eerily tranquil psychological thriller, Nicole Kidman's placid countenance is like a Rorschach: you'll project onto it what you want to see.

Never quite settles on a tone, veering from wacky comedy to earnest sports drama to romantic farce. The results are predictably muddled, if mostly harmless.

This Hamlet elevates plot to a height that retains the play's atmosphere but squanders its thematic richness in a welter of "Mommy, how could you?" melodrama.

Jones's script leans too heavily on the familiar device of blurring illusion and reality, but his view of the urban landscape is beautiful and distinctive.

The film never quite achieves the sharp edge satire demands, largely because director Andrew Niccol, who was so good at managing tone in "Gattaca," can't decide whether to go with nasty or hilariously farcical.

I expected this to be much funnier: Latifah coasts on her charm and Fallon seems incapable of playing an actual character.

Argentinean writer-director Daniel Burman uses a shaky handheld camera and voice-over narration to take us inside Ariel's head, which gets a bit exhausting, even in the more emotionally satisfying second half.

Hits the ground running and never looks back. But after an hour of propulsive pacing the shock value wears off, and all that's left is pop-up carnage.

Has an affable charm, but the script is paint by numbers.

Reasonably entertaining but predictable.

The animation is remarkable, except for the stiff, marionettelike humans.

There are a few witty touches (POV shots given to the urn holding the mother's ashes) but the mood swings erratically and ineffectively from deadpan drollery to heartfelt romance.

There's an uplifting message about heroism, dispensed in dialogue so familiar you can practically lip=synch it.

Desperately wants to be whimsical and charming. But whimsy isn't easy to carry off, and director Alan Taylor, who has directed mostly television dramas, has a heavy hand -- scenes meant to be comical are destroyed by leaden pacing and a puzzling mix of tones.

All in all it's pretty lurid, but it delivers what it promises.

This harmless comedy by Steven Mallorca comments wryly on America's weird hybrid culture, but the characters are too broadly drawn and the story drags in the last third, just when it should be hitting comic warp speed.

The audience is subjected to a series of emotional contortions, encouraged to experience them voyeuristically, and then scolded for doing so. The bathetic music Kim favors is profoundly at odds with his chilly attitude toward the characters.

Episodic but entertaining fantasy.