James Berardinelli

The root problem with The Wolfman is that it's a hybrid.

The underwater sequences, which are choreographed and directed with great skill, are Thunderball's standout feature... Thunderball is classic 007 -- not the best picture in the long-running series, to be sure, but a more-than-worthwhile diversion for the action-loving escapist in us all.

It's watchable, but barely.

In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.

Music and Lyrics is frequently appealing, often witty, and occasionally funny, but it's not going to convert skeptics and cynics into sentimentalists.

An affecting and endearing collaboration between Miyazaki and Kondo, it weds a coming-of-age story with a flight of fancy to good effect. Although often overshadowed by more popular titles in the Studio Ghibli catalog, this is as deserving as any 1990s Japanese animated film to be seen and enjoyed.

I would classify Charlie Bartlett as a smart teen film. It's more ambitious and overall more successful than its '80s forebears even though the resemblance is unmistakable.

Not only is Pleasantville a satire, a fantasy, and a visual marvel, but it's the best kind of feel-good movie.

Not an indictment of the Catholic Church as a whole, but a thought-provoking look at what can happen when decent individuals are seduced by the power of their position.

Represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest.

Although most movies favor passion and true love, The Umbrellas of Cherbourg shows that another less demanding, more subtle kind of love has its own appeal.

The Proposal follows a paint-by-numbers script, it fails one key acid test: it doesn't sell the romance.

This could easily go down as the year's best example of solid acting in a wretched motion picture.

Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.

The Edge comes across as a parody/adventure without a clear sense of identity.

With its lack of pretensions, Miss Potter is that rare breed of cinematic animal: a movie whose entire goal is to entertain and perhaps apply a gentle touch to the heart.

De Niro successfully varies the tone, keeping it light and playful at times, dark and somber at others. A Bronx Tale is his triumph, and a testimony that all those years of watching the best in the business have borne fruit. If what is yet to come has any of the promise shown by this debut, we may be witnessing the birth of yet another directing talent.

The Secret Garden combines drama, fantasy, and a little bit of light Gothic horror (the old house with its strange noises). The film is visually stunning, from the eerie insides of Misselthwaite Manor to the time-lapse photography of blooming flowers. Zbigniew Preisner's score adds to the atmosphere without ever becoming obvious or intrusive.

Of the two timelines, the one featuring the teenage Diana is more involving than the one featuring the adult version. Both lead actresses give fine performances, but Thurman has less material to work with.

If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.

Although the film is clearly trying to follow in the footsteps of the Beatles' classic, it's several long strides behind, lacking the same sense of originality, spontaneity, high energy, and joi de vivre.

Is this a movie or a feature-length advertisement for Qwest? We're not just talking one product placement; this brand name is nearly omnipresent.

Wonderful World feels like a modern-day half-baked riff on Charles Dickens' "A Christmas Carol."

The main problem with Coach Carter can be summed up simply: too much sermonizing.

For the most part, Walkabout is an involving, occasionally hypnotic, motion picture. Some of the photography, including images of the outback and its denizens, is spectacular.

This film has no story, no characters, and no coherence.

A thrill-less thriller that uses gore to obfuscate its inability to generate tension, this motion picture has the profile one might expect from a direct-to-video release.

So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.

Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.

John Tucker Must Die is toothless. The jokes are obvious and unfunny, the storyline goes nowhere that's interesting or unexpected, and the only chemistry happens in a science lab.

Although For Love or Money is a marginal film by any standards, it isn't unwatchable, and it does fit nicely into the "date movie" niche. I can't honestly recommend the movie, but it isn't completely without redeeming qualities.

Nothing can take away from the strength of Gable and Colbert's performances, the illusion of romance in their interaction, and Capra's deftness in crafting this kind of feel-good narrative. The screwball comedy elements work as effectively as the love story, which is a rarity for romantic comedies.

Brooks' take on the ups and downs of modern romance and the unexpected turns it takes is smart, funny, and (above all) uncommon. It's not hard to recommend this on Valentine's Day or at any other time.

Devil will do little to dispel the growing belief that Shyamalan is a one-trick pony whose horse has keeled over. The laughter during the trailer was sadly prescient; the film is a joke.

Chase, like his Vacation movies, are things of the past. This is a series that should have died with the '80s. Instead, inexplicably, it has limped on into the '90s.

Téchiné's development of Alex and Marie is masterful; Auteuil and Deneuve keep our attention riveted to the screen whenever they're on. And, while the director doesn't succeed in plumbing the emotional depths reached by Ma Saison Préferée, there are elements of Thieves that touch us nearly as forcefully -- those moments just aren't as plentiful.

Manages to remain witty throughout.

Travesty.

Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.

May not have much thematic depth, but it represents two hours of pure, exuberant entertainment – an epic gangster tale rendered on a grand scale.

As rich in emotional impact as in style, this motion picture sets a high standard that we as viewers can only hope the other two chapters of the trilogy will match.

On those rare occasions when RV stumbles across a comedic moment that is legitimately funny, it drains the humor out of it by milking it dry.

Not everything in The Wackness works and there are times when the divergent serious/comedic tones clash instead of complementing each other. However, in spite of its flaws, the production gets us to care about the characters and their situations.

Sabrina is playfully seductive, and will leave almost all viewers, even those as cold as Linus, with a smile on their lips and a warm glow in their hearts. [Review of re-release]

The film's structure is a little awkward, almost certainly as a result of its being expanded from 20 minutes to 97.

Juno has a great heroine and is blessed by a screenplay that doesn't try to do too much and finds the perfect ending.

At times brutal, at times touching, the movie stands out as one of the better "prestige" productions offered for cinematic consumption during the waning weeks of 2007.

For those who have a penchant for talky subtitled romantic comedies, this one has its charms, but is probably more worth seeking out once it's on video than during its (probably short) theatrical life.

This is a rare time when young ones will get more out of a Sandler movie than their parents, who may have grown up with him when he was on "Saturday Night Live."

The core of honesty that distinguishes the production remains unchanged by time, ensuring that, no matter how many years have passed, About Last Night... still works on an emotional level.

There's something old-fashioned about Everlasting Moments. Although the shots are beautifully composed, they are classically represented. Both the filmmaking methods and the storytelling are uncomplicated.

With Steven Soderbergh at the helm, this has become a whimsical, semi-comedic romp, complete with a score by Marvin Hamlisch that recalls kitschy '70s TV shows, cutesy captions, and a tongue-and-cheek approach to the entire story.

What's wrong with this movie? A better question might be: What's right? Every attempt at comedy is not only obvious but delivered in such a forced manner that any hope of generating laughter dies before the joke has been told.

Patton remains to this day one of Hollywood's most compelling biographical war pictures.

The most visually inventive comic book adaptation to make its way to a movie screen.

There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.

Crooklyn comes to the screen with an upbeat tone and a lot of heart. Beneath the surface of this deceptively simple motion picture lurks a keen insight.

A compelling motion picture that illustrates an American tragedy and shows the transformation of a decent family man into someone whose struggles with addiction and association with the wrong man bring him to an untimely end, with no hope of retribution.

With its idea of an insurgency striking against an implacable evil empire, there's more than a little "Star Wars" in Terminator: Savlation, although not even at its "Empire Strikes Back" bleakest was Lucas' series this dark.

The transformation undergone by Michelle Williams to play this role is nothing short of astounding.

As a video rental, this film will probably play a lot better than it does at the local multiplex.

From a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say.

There are a few occasions when Antwone Fisher crosses the line to become too syrupy -- For the most part, however, the production radiates emotional honesty.

Pretty mediocre entertainment, and probably better suited for home viewing than a trip to the multiplex.

Blue Velvet is David Lynch in peak form, and represents (to date) his most accomplished motion picture. It is a work of fascinating scope and power that rivals any of the most subversive films to reach the screens during the '80s.

At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.

In the end, Conspiracy Theory fails to work as an action film, a romance, or a mystery -- all of which it aspires to be.

Although there is violence and danger, this is less about the chase than it is about the relationship between the siblings.

Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.

Unfortunately, this is also among the weakest of the early Bond films, although Connery is in peak form.

It’s an uneven film with a tone that veers from playful to menacing. Despite numerous simplifications of the source material, it’s long and, with only a few exceptions, the songs are unremarkable and feel more like filler than organic elements of storytelling.

A soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for NBA properties.

Gorgeous photography and strong acting keep the formula from becoming stale. For those who don't mind pictures that fall into predictable rhythms, A Good Year represents a pleasant diversion.

Unfortunately, the final act (the Mexico sequences) illustrate where to take a ghost story if you want to exchange old-fashioned horror for a grilled cheese sandwich.

The result is an atrociously unfunny, unromantic, and unpleasant product.

This is a hard, challenging motion picture. It demands much from the audience, and repays that investment with powerful, engrossing drama that does not offer insulting, facile answers. House of Sand and Fog is gripping and unforgettable, one of the best movies of 2003.

The movie doesn't come close to the family-friendly comedic pseudo-incest flirted with in "Back to the Future." That, apparently, is deemed too unsettling for today's audiences. So 17 Again none-too-cleverly tap dances around these issues.

Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.

Gripping and compelling, and doesn't make us wish we had checked our brains at the theater entrance.

The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.

This is a vile and reprehensible motion picture.

Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.

Disney has struck once again, taking a passably entertaining cartoon and turning it into a motion picture so lifeless that it's almost unwatchable.

The problem is, the characters don't grab me, and the story meanders too much.

Code 46 is like "Solaris" without the psychological depth and strong acting. The movie is flat, boring, pointless, and nonsensical.

Perhaps the greatest strength of Star Trek: The Motion Picture is that, despite a badly-paced middle, it boasts a strong beginning and end.

One has the sense that if the level of violence had been ratcheted up a little, Paparazzi might have been more of a guilty pleasure and less of a chore to watch.

As a feel-good movie about disabled youths, Rory O'Shea Was Here gets the job done, but it isn't interesting or daring enough to make it worth a trip to a theater.

Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.

The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.

Freedom Writers delivers the expected messages about hope and the ability to change one's destiny, and does it in a manner that it is emotionally and intellectually satisfying.

At best, this film is strictly cable fare.

Dennis the Menace is basically innocuous -- creatively barren but offering the kind of light, undemanding entertainment that the under-ten crowd finds so appealing. Most children will get a kick out of it, although adults roped into accompanying their offspring may find themselves yearning to escape through the nearest exit.

Tokyo Decadence will appeal to only a select few. The movie is rated NC-17 for a reason -- it doesn't pull any punches, and there's virtually nothing it won't risk putting on screen. Those who take a chance on this film may be shocked by what it offers, but, regardless of their opinion of the story, the overall experience won't soon be forgotten.

Obvious technical considerations aside, it holds up surprisingly well after so many years and is not hard to recommend for anyone with an interest in film history and World War I.

Into the Wild is a beautifully made motion picture and some of the segments (especially those with Hal Holbrook and those that transpire around "the magic bus" in Alaska) are powerful.

Overall, while Spirited Away may not be as complex and imaginative as "Princess Mononoke" in some areas, it is as beautifully rendered and no less sophisticated in its outlook. Miyazaki has provided another triumph, and, in the midst of the quality fall-off of Disney’s in-house animated projects, a reason for animation-lovers to rejoice.

Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.

Dustin Hoffman and Emma Thompson bring credibility to Last Chance Harvey merely by their presence. The result is a holiday parfait.

The International possesses the look and feel of a thriller, but not the heart or soul of one.

Takes a cold, unflinching look at the violence both inside and outside of the ring.

Hardly a moment of Matilda can be described as either juvenile or condescending, and, compared with many of this summer's so-called mature features, that makes for a delightfully refreshing change-of-pace.

Star Trek IV, while not a superior effort, is an effective and enjoyable sample of entertainment -- not good science fiction, but a lightweight piece of comic fantasy utilizing characters so familiar that they feel like old friends.

This movie is more of a curiosity than a fully formed motion picture.

Mary Shelley's Frankenstein may not be the definitive version of the 1817 novel, and the director likely attempted more than is practical for a two-hour film, but overambition is preferable to the alternative, especially if it results - as in this case - in something more substantial than Hollywood's typical, fitfully entertaining fluff.

The teaser scene is phenomenal. It depicts the escalating tensions that accompany being one of the men in the final chain that leads to a nuclear launch. In this case, it's just a drill, but the men (played by Michael Madsen and John Spencer) don't know that. They must confront the morality of obeying an order that could lead to a worldwide holocaust. It's a taut scene that is suffused with verisimilitude.

The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.

This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.

Gives life and meaning to an event that is little more than a footnote in history books (if that).

Where Happiness shines, however, is in the series of extraordinary performances given by the members of the diverse ensemble cast. Leading the group is Dylan Baker, whose turn as Bill is astounding.

The film is worthwhile primarily for the fun, breezy first hour. After that, it's a case of watching to find out how things turn out.

In the final analysis, The Expendables is little more than an ordinary, uninspired action feature.

For those with an adventurous and offbeat cinematic appetite, Chandni Chowk to China offers its shares of enjoyments, although there are plenty of "downs" to go along with the "ups."

One of Mindhunters' strengths is that it's difficult to guess who the culprit is because Harlin and his screenwriters don't play fair with the audience.

From Russia with Love is among the most tightly-plotted of all the Bond films, and, as a result, is one of the shortest. It moves briskly, blending intrigue, romance, and action into an immensely satisfying whole.

There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.

Without the elegant technique of John Woo, Hard Target could have been a real dud. It is not a good alternative to more intelligent thrillers such as In the Line of Fire and as The Fugitive, but that's not the market it's aimed at. However, those who enter a darkened theater showing this film with a reasonable idea of what they're getting themselves into, are likely to emerge satisfied.

With a cast featuring Ben Stiller, Owen Wilson, Robin Williams, and Ricky Gervais, one has a right to expect something amusing from Night at the Museum. Oddly, not only is the movie unfunny, but it rarely tries for laughs.

Christian Bale continues to amaze with his ability and range.

Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.

Eye for an Eye is one of three pictures currently in theaters about parents coping with the deaths of children. Both of the others, The Crossing Guard and Dead Man Walking, are vastly superior, and the latter, a thoughtful examination of some of the same issues that drive this film, makes Eye for an Eye look like puerile rubbish. Despite paying lip service to high ideals, Schlesinger's movie has no moral compass, and is only interested in delivering cheap thrills. And, while there's a place for that in movies, appropriating this particular storyline for such a base intention feels uncomfortably like a defilement.

Monsters vs. Aliens suffers from the common 3D problems: dim lighting, poor focus in fast-paced action sequences, and too many distractions for the movie to grab the viewer.

With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.

The book is richer, but this is a solid, endearing telling of the same essential story, and is well worth the price of admission for those who appreciate romantic fantasy.

The result, although uneven, is generally enjoyable, especially for those who attend with the right mindset. Character and narrative are secondary concerns for a movie primarily driven to provide a Valentine to '60s rock-and-roll.

Actually, the more distance the studio places between the two films, the better, because the 1997 production can't hold a candle to the 1973 release, and an attempted comparison only makes the new Bruce Willis/Richard Gere vehicle look worse.

The rousing success of the final 45 minutes cannot entirely counterbalance the stumbling uncertainty of the first 90 minutes.

Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.

Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?

The story is timely and powerful, and the performances of Hanks and Washington assure that the characters will not immediately vanish into obscurity.

It is a triumph, and one of 1998's few "don't miss" motion pictures.

An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.

It's hard to deny that Brüno succeeds in being both outrageous and outrageously funny, and it's hard to damn a comedy, regardless of its faults, for those qualities.

There are several painfully awkward "dead spots" in Mallrats where nothing works -- not the dialogue, the acting, or the direction.

This is as witless as movies come -- an unamusing, moronic blend of horrible acting and inept screenwriting.

The Quiet Man showcases [Wayne] as the leading man in an old fashioned romantic drama. Cast against type, Wayne pulls it off with aplomb, largely because his tremendous screen presence allows him to get away with gaffes that would sink other actors.

Despite its flaws, White is an excellent character study, and the presentation of a twisted love story is compelling.

The Loss of Sexual Innocence is not a masterpiece (at times, its obtuseness can seem ponderous and pretentious), it is nevertheless a fascinating experience, with the focus being on the artistic elements inherent in the medium rather than on the narrative.

The movie is uneven in the extreme, to the extent that it feels like two imperfectly wed pictures. The first, while not extraordinary, at least contains some interesting ideas. The second borders on embarrassing: an overblown melodrama complete with coincidence building upon coincidence and plot threads that are left unresolved.

Revealed in unforgettable fashion by a capable director, the events that unfold in this film are not easily forgotten.

Weak dramatically, and that limits its overall effectiveness.

It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.

Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.

The movie works because so much of what's on screen will resonate with viewers.

Doesn't have the decency to end when it should.

Cusack invests such sincerity in his portrayal of Lloyd that it's impossible not to root for him to get the girl. He's the classic underdog that we all think of ourselves as -- earnest, engaging, and impossible to resist because of his flaws, rather than in spite of them.

As a source of light pleasure and solid laughs, it delivers. This particular cookie may not fill the belly, but it goes down easy.

A charming piece of cinema that takes several comfortable formulas and expands upon them in ingenious and emotionally-satisfying ways.

With Rookie of the Year, Daniel Stern has struck out.

There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.

Oleanna probes deeply into some of the darker facets of human interaction, and anything with this keen an edge will cause discomfort. Three out of four "characteristic" movie-goers are likely to view this as a bad movie (too slow, too pedantic, too stilted). Oleanna, however, is no more intended for that crowd than are they for it. This film has been made for those willing to look beneath the surface to see a taut, intellectual sparring match where there is no absolute truth. For such an audience, this picture will leave an indelible imprint.

Regardless, though it may be occasionally slow-moving and perhaps a half-hour too long, this film is put together with care and a mindfulness of quality.

This is a comic amusement park ride – a wildly uneven movie that offers tremendous pleasure for the moment, even if it doesn't stand up well to post-screening analysis and scrutiny.

Because this film touches us so deeply, the catharsis has a power that few -- if any -- other moments in film history can match. And that's what establishes this as a transcendent motion picture experience.

A heist movie in the classic tradition - it details every aspect of the caper, from its genesis to its aftermath. The fact that there's political intrigue and espionage swirling around the edges only makes it more fascinating.

The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.

If there's the kernel of a good story buried somewhere deep in Cursed, it never pops. As werewolf movies go, this one is on par with "An American Werewolf in Paris," but at least that dud had plenty of gore and Julie Delpy's bare breasts to recommend it.

The Theory of Flight is far from a perfect movie, but it offers enough highlights that, on balance, it's worth a recommendation. The solid acting camouflages a great many other deficiencies.

The most disconcerting thing about A Walk in the Clouds' tendency towards overt melodrama is that almost all of it is totally unnecessary. Minor script changes could have eliminated huge chunks of this, leaving behind an uplifting love story. Even as it is, however, there's still something special about the motion picture. I just wish the final half-hour hadn't been such a bloated disappointment.

In the wasteland of August releases, this entry shines like a beacon lighting the way to a theater.

As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.

Unfortunately, the film's final third is poorly focused and, while there is a clear conclusion, it feels strangely hollow.

The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R.

Has plenty of funny moments, but there's no chemistry between stars Ben Stiller and Jennifer Aniston. It's hard to accept that these two characters are, or even could be, in love. So, while the film is pleasant and sporadically entertaining, it can't be considered an unequivocal success.

A viscerally effective, fast paced thriller.

Too long and too full of itself to offer more than a few fleeting moments of entertainment. It doesn't take long for tediousness to triumph.

The humor gets raunchy enough to earn the "R" rating, but in some ways, it's pretty tame, especially in the wake of "The Hangover."

In the final analysis, Rising Sun is yet another book-to-movie conversion that loses something in the translation. Despite the always-welcome presence of Sean Connery, the film fails to satisfy completely. There are a few too many plot holes and logical errors. Rising Sun may be solidly-paced, but not all aspects of the production are as successful.

The movie isn't so much bad as it is formulaic and uninspired. In some ways, that might almost be a worse sin.

One of the most refreshing things about this movie is the manner in which it combines genres in unexpected ways.

Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.

With each new outing, the Final Destination movies are getting better.

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

Alien 3 is, simply put, a mess. The writers have no idea how to tell a coherent, entertaining story. With the exception of a surprise or two, there isn't much worthwhile here.

Anyone expecting a movie dominated by figure skating will be disappointed. The Cutting Edge concentrates on its characters, with the skating limited to a supporting role. This is not a movie for cynics, nor for those who don't occasionally like to sit back and enjoy an undemanding, "comfortable" film. For unadulterated fun, The Cutting Edge may not earn a gold medal, but it's worth at least a bronze.

The mismatched blending of Hirschbiegel's low-key horror and the Wachowski Brothers' anything-but-low-key action sequences results in a cinematic dud.

Evans' goal is to do for high school baseball what "Hoosiers" did for high school basketball, but to mention both titles in one sentence is almost an insult to a picture that many rank as the first or second all-time sports film.

Although The Phantom is more often enjoyable than not, it lacks that special characteristic necessary to provide it with a unique identity. Arriving in the midst of so many "can't miss" offerings, I expect it to sink like a rock, moving quickly to "dollar theaters" then to video. I'd like to be able to champion this film, but the truth is that I'm tiring of the genre as a whole, and, while The Phantom opts for a different tone than most of its brethren, it's still not an especially memorable motion picture. This is the kind of movie that offers modest entertainment while you're in the theater, but is forgotten by the time you get home.

Enough things in Crossing Over work to keep the film from becoming a bore, but this is a definite step down from Kramer's past efforts, "The Cooler" and "Running Scared."

A cheesy production with underdeveloped characters that feels more like a TV pilot than a self-contained motion picture.

Whatever its faults, Ghosts of Mississippi is certainly an involving drama. However, while I have no doubt that Reiner meant for this to be an indictment against racist attitudes and a survey of some of the successes and failures of the Civil Rights movement, it succeeds only sporadically at those goals.

The plot runs out of steam just past the one-hour mark and the charade, although necessary to the story, goes on for too long. The ending is, of course, the requisite happy one, but it seems a little anticlimactic.

This is one of those movies where you stay rooted in your seat just to see how bad it can really get.

A great deal of excitement and adventure, all brought to the screen by using a somewhat irreverent tone that keeps the mood light without trivializing the characters.

Swing Kids has a multitude of problems, the most glaring of which is its loose treatment of history and the Nazis.

Kalifornia is disturbing, and, while it doesn't overdo the blood, neither is the violence understated.

Dull, uninspired, and redundant.

All-in-all, the intelligence of the approach combined with good old-fashioned zombie blood-and-gore (as opposed to the slicker, sicker torture porn variety) makes this not only the most satisfying motion picture Romero has made in a long while, but one of the best of his career.

Goldthwaite's script has the honesty of someone speaking with the voice of experience.

Tomorrow Never Dies is a better film than Goldeneye. In fact, it's the best Bond film in many years.

There are times when the comedian falls back on his typical shtick, but the film doesn't shy away from the darkness inherent in this kind of story, and it has a heart.

Despite its flaws, Total Eclipse is the kind of movie that stirs thoughts and ruminations about the nature of genius, the true meaning of art, and the unfailing capacity of great people to destroy themselves and others. Holland has not matched the success of two of her previous films -- Europa Europa and Olivier Olivier -- but this picture is still a respectable examination of a fascinating historical relationship.

Although Around the World in 80 Days offers gorgeous visuals, that’s not sufficient justification for watching a film – any film – for three hours.

Letters from Iwo Jima is a unique American-made war movie for at least two reasons: it depicts the battle from the perspective of the losers and it represents the United States as the "enemy."

It's bland as often as it is affecting, and presents little that's new or original.

Georgia is a tour de force for Leigh, and her portrayal of the troubled, passionate Sadie lingers in the mind long after many of the movie's plot details have faded.

It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.

The average thriller, even if it's set in a faraway or futuristic world, tends to offer visceral, ephemeral excitement, and not much else. However, while Gattaca has the energy and tautness to compare with the best of those, its thought-provoking script and thematic richness elevate it to the next level.

In a way, it's probably unfair to blame director Tamra Davis exclusively for this debacle. After all, she's toiling in the shadow of a would-be multi-media superstar, making her essentially a hired gun.

Tokyo Story is as much a journey of discovery as it is an opportunity to reflect. The characters populating this film aren’t strangers. They are our parents, our children, ourselves.

Marginally worth seeing if you're a Pacino fan but, even then, waiting for the DVD is the smart bet.

The movie ends with a bizarre and unsatisfying denouement. The epilogue, which is designed either to set up a sequel or lampoon "Halloween 2," plays like a sour last note. I suppose someone thought it was clever, but it doesn't work.

Today, it feels like a parody and at times slips into “so bad it’s enjoyable” territory.

It's a superior thriller made with the guts and gusto that too many recycled entries into the genre fail to exhibit.

The story as a whole seems stale and overly familiar.

Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.

There's no denying the film's power of compulsion and the sense that, when it's all over, it means something. Most viewers will be entertained and moved, and some will find their intellect aroused.

For the most part, its characterizations are so weak and ambivalent that the audience finds it difficult to develop much sympathy for anyone, regardless of whether they're white or Native American.

All Quiet on the Western Front is the definitive World War I motion picture, the best of a surprisingly small class of movies.

Although the action scenes are competently executed, there's nothing here to raise the pulse.

Everything about Staying Alive is cliched: characters, story, dialogue… There’s not a single original or interesting thing to be found. Even the music is tired and, although Travolta evinces the same physicality he showed in Saturday Night Fever, the sense of joy is gone.

"Twister" is a rush. Dante's Peak, on the other hand, is a bore. Oh, it has its moments, but most of them are concentrated in the final forty-five minutes. The first hour, which is all typical disaster movie setup, is interminable.

When compared to today's visual standards for animated films, Hoodwinked is far below the curve.

Dreamgirls is good and at times it touches greatness.

Ricci's performance is brave and effective - the most provocative in a career that has rejected Hollywood norms.

Too much of Jason X plays it straight, and that means boredom. Murder and mayhem of this sort quickly becomes monotonous.

Aspen Extreme is a predictable, pointless melodrama -- a kind of Top Gun in the snow. Ski enthusiasts might be tempted to see the film based on subject matter alone, but, unless they're undiscriminating about the quality of their movies, I would caution against it. Even as vicarious entertainment, Aspen Extreme is feeble.

It's a depressing experience to view something like Saw IV. It's not just the soullessness that's dispiriting, but the lack of invention. When a movie does little more than repeat what its predecessors accomplished with grotesque effectiveness, it's past time to tip this corpse into its grave and bury it.

Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.

The film's biggest problem is its director. Marc Forster is an experienced art house filmmaker with impressive credits (most recently, "The Kite Runner)", but he is clueless when it comes to action sequences.

No film can ever hope to convey the complex mosaic of cultural upheaval caused by everything that happened between 1924 and 1977, but Farewell My Concubine does an excellent job presenting samples of the flavor while telling a story that is both epic and intimate.

No one is going to remember the movie in a month, but for Mommies and Daddies seeking a night's break from their children, it's adequate entertainment.

Z is disquieting not only because the events actually happened, but because we sense they could happen again, closer to home.

Of all Chaplin's films (with the possible exception of Modern Times), City Lights offers the fullest characterization of the Tramp. He's a loner who comes and goes almost like a dream figure or a drunken angel. Without family, friends, or a place to live, he stands outside of our reality, sometimes trying to fit in and sometimes not caring whether or not he does. Yet, like a child, he is a complete innocent with a pure heart and the best motives.

One of the best-ever examples of film noir to come out of all of Europe. The Third Man has all the right ingredients: an engaging, twisty storyline (written by Graham Greene); one of the most diabolical and charismatic villains ever to grace the screen; crisp, innovative directing (by the underrated Carol Reed); a score (by Anton Karas) that it as unforgettable as it is unconventional; and cinematography (by Robert Krasker) that uses the black-and-white medium to its fullest. Not only is The Third Man a darling of the critics, but it has been embraced with glee by the general populace for more than five decades.

It's all about eye candy and the quick tease. It's not over fast enough.

It's an enjoyable and occasionally thought-provoking motion picture whose viewership should not be diminished by the unfortunate and inaccurate "anti-American" label.

The General's Daughter is for all those who enjoy mystery/thrillers that neither attempt to break new ground nor are afraid to employ familiar plot devices.

Indian Summer is a mish-mash of mediocre formulas. Although there are several good comedy sequences, this uneven humor is unable to camouflage the essential weakness of the storyline. The script, which relies heavily on conflict, doesn't present us with any believable characters. Reunion stories have been done so often that for one to make an impression, it needs a new angle (Peter's Friends, Kenneth Branagh's recent film, fell into the same trap). Indian Summer doesn't even attempt to strike out towards new ground. It finds a comfortable, cliche-filled groove and sits there.

It offers a solid two hours of pure, escapist entertainment.

If ever a romantic comedy is going to fail at the box office, this is it. The movie isn't a guy's thing, a girl's thing, or anybody else's thing.

This film is the complete package, and offers a thoroughly satisfying two-plus hours in a darkened theater.

There's only so far a movie can go on loud music, nicely-framed shots, testosterone, and adrenaline. Bad Boys takes the often-traveled road, and leads the audience to a dead end.

Like many genuinely awful movies, Queen of the Damned has the ingredients of a cult film.

Celtic Pride has numerous weaknesses, most obviously an overly-happy ending that seems distressingly sincere (as opposed to lampooning this kind of finale). The film also exhibits an unwillingness to divorce itself completely from sports film cliches and conventions. On the whole, however, Celtic Pride is surprisingly effective and entertaining. You don't even have to be a Celtics fan to appreciate it. In fact, considering who becomes the butt of the film's ultimate joke, perhaps it's best if you're not one.

Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.

Howard the Duck is a bad movie. It doesn’t work as a comic book adaptation, a comedy, an action/adventure film, a fantasy/science fiction pastiche, or a combination of any of the above. The humor is juvenile. The action is cheesy and unexciting. The costume is embarrassing. The script feels like it was cobbled together by people with no knowledge of comic books but who were pretending expertise.

Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.

Dreamer is a kids' movie. It offers the simple black-and-whites of innocence, with no grays to add complexity.

In movies this deliberately paced, the line between fascination and boredom is a fine one, easily crossed. Fortunately, Bubble stays on the right side of that line.

Like its predecessor, The Two Towers is a great motion picture, and not to be missed by anyone who appreciates fantasy adventure.

The Best Years of Our Lives runs almost three hours, but it doesn't seem nearly that long. The film is so involving that there's no temptation to glance at a watch, nor a need to get a snack or take a bathroom break. In fact, when it's over, there's almost a sense of disappointment that there aren't a few scenes left hiding on the other side of the closing credits. The feeling of warmth and satisfaction that accompanies the conclusion is the hallmark of a great drama - a distinction that anyone who has seen The Best Years of Our Lives will apply to this landmark production.

A muddle of a film - an overlong bore that either mistakenly thinks it's something more than a humdrum romance or has incorporated a variety of pretentions as window-dressing.

There is so much in this film that it cannot all be absorbed in one viewing. Nashville demands to be seen repeatedly, if only so that the movie-goer can recognize previously missed elements. This repeatability is one of the traits of a masterpiece, and, regardless of the criteria applied, Nashville surely must be considered as a modern classic – a motion picture whose scope and influence extend far beyond what is displayed on screen during its 160-minute running time.

The Young Victoria feels like a wasted opportunity and is among the least impressive in a long line of motion pictures about British royalty.

If you think "Hero" is a sumptuous film, prepare to be blown away by House of Flying Daggers.

Lacks both a focus and an edge, making it an amorphous mess.

Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.

This is the most mature horror movie of the year - far more adult and sophisticated than the tedious Hostel Part II. If you like to be creeped out by movies, this is one to see. It reminds us what it's like to be scared in a theater rather than overwhelmed by buckets of blood and gore.

Ultimately, however, owing to too many derivative elements and an erratic story that runs out of steam about halfway through, Metro is only partially-satisfying. I suppose any viewer's reaction will depend on whether they choose to see this particular glass as half-full or half-empty. Murphy fans and action junkies will probably find enough here to keep them involved and upbeat. Everyone else will likely see this material as disappointingly over-familiar. In the wasteland of early-1997 releases, you could do worse than Metro, but, by year's end, few people are likely to remember the title, let alone the premise.

Your reaction to Double Team will probably depend largely on how you feel about concussive action films. While this one is better than most, it still falls considerably short of what I consider to be a "good" movie. One thing's for sure, though: like most flicks that boast more stuntmen than cast members, Double Team is unlikely to function as a Sominex. You may not enjoy it, but you won't fall asleep. And that's the best thing I can say about this loud, brash, ultimately pointless morsel of eye candy.

Emotionally challenging and honest.

Teeth is not only odd but it's genre-defying. The film doesn't limit its field of choice: it's a black comedy, it's a drama about teen angst, it's a romance gone bad, it's a B-grade horror film, it's an allegory about female empowerment.

For a movie being touted as a sophisticated farce suitable for family viewing, North turns out to be surprisingly immature.

The greatest flaw in My Father the Hero isn't the feeble laugh-to-running length ratio, the limp characterization, or the mediocre acting. Instead, it's the feeling of unease that pervades the first forty-five minutes as Nicole and Andre clash while the film tries unsuccessfully to make light of their dysfunctional relationship. There are serious issues bubbling away here that the movie doesn't know how to address properly. Lighthearted motion pictures should never cause discomfort, but this one does.

The characters are at the heart of A Simple Plan, and the gruesome complexity of their interaction elevates this film to the level of a midwinter treat.

Character development is of secondary importance to narrative and theme. As a result, we never really get to know any of the film's protagonists.

A pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize.

Take away Bruce Willis and this is straight-to-video material.

With respect to Martin Guerre, Sommersby can genuinely be viewed as an homage -- the spirit of the original remains intact, which is perhaps the most satisfying aspect of this production.

Defined by three characteristics. It is as stupid as a decapitated worm. It is as irritating as a mosquito buzzing around one's head. And it is as funny as "Schindler's List."

This movie has all the qualities necessary to be a crowd-pleaser: likable characters, charismatic performers, a strong, capably-executed premise, and lots of laughs.

Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,

The film's central flaw is that the characters are haphazardly developed, and don't come across as more interesting than the props.

T2 features bigger, bolder, more energetic action sequences than its predecessor.

The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.

Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.