James Berardinelli

A family film (albeit a mediocre one).

With Inglourious Basterds, Quentin Tarantino has made his best movie since "Pulp Fiction." He has also made what could arguably be considered the most audacious World War II movie of all-time.

Understands baseball and the men who play it, and, for a film about the sport, that's half the battle.

Not everything in City Island works - some of the secrets are obvious plot devices - but, in terms of feel-good, undemanding entertainment, this is as good as anything I have seen thus far in 2010.

This film never believably captures the sport it portrays, and that leads to a picture that's closer to a strikeout than a home run.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

Sunset Blvd. represents the center stone in Billy Wilder's glittering cinematic tiara.

Wassup Rockers is amateurish, but without the redeeming qualities found in "Kids" and "Bully."

Like a time-travel movie, but without the time travel, The Mothman Prophecies delights in playing with cause-and-effect relationships.

One of the reasons that Quiz Show is so extraordinary is because it spins a story as compelling on the personal level as on the national one.

Once Were Warriors works, to some degree, on three levels: the visceral, the emotional, and the intellectual, and it is the amalgamation of these that makes this a memorable film.

Not since "The Crying Game" has Jordan crafted as compelling a motion picture.

Paranoid Park is a rare breed: a movie about teenagers in which the characters talk like real teenagers, act like real teenagers, and are played by real teenagers.

Oozes atmosphere. The humor keeps it from becoming too creepy, but there are still a few chills to be had.

There are quite a few unintentionally funny moments, although the overall experience was too intensely painful for me to be able to advocate it as being "so bad, it's good."

Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.

Considering the talent involved and the strength of the source material, there's no way Edge of Darkness should have been this disappointing. Part of the problem is a direct result of condensation - there's no way to cram six hours of the dense mini-series upon which the movie is based into about 110 minutes without paying a penalty.

If there's anything to like about The Bounty Hunter, it's Christine Baranski doing a Joan Rivers impersonation.

This is most definitely NOT a date movie. But if you appreciate films that are more substance than style, that take challenges and don't follow formulas, and that feature Oscar-caliber performances, Closer is not to be missed.

A major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.

Under Lester’s aegis, Superman III loses its identity, never emerging as a true superhero adventure or a full-blown parody.

Imagine Me & You isn't unpleasant, but it is unremarkable. If nothing else, it proves that gay romances can be just as uninspired as their heterosexual counterparts.

Those for whom Spirit was made will find this to be a thoroughly enjoyable production. As a "kids' movie", Spirit is a resounding success.

A stillborn affair that could have been -- and should have been -- a whole lot hipper and funnier. If you've seen the two- minute theatrical trailer, you've seen nearly everything that's worthwhile in the feature.

Its failure to live up to even modest expectations is a blow. There's nothing righteous to be found here.

Twisted is a D-grade thriller with an A-list cast. It's a disappointment from start to finish...But, in the final quarter-hour, it committed the unpardonable sin of insulting my intelligence.

The good news first: The Alamo is probably the most historically accurate depiction yet to reach the screen of the famous siege. The bad news is that "historically accurate" does not necessarily translate into "dramatically successful."

As a comedy, The Mask is genial, but its recycled plot is far too thin for the film to succeed as either an adventure or a spoof.

Pretty Persuasion reminds me of a half-hour TV series that has a great pilot episode, then falls apart in subsequent installments. Movies need to grow and change to keep things interesting; this one is stagnant.

It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.

Dead Again does not come across as a Hitchcock knock-off, but as a motion picture that incorporates familiar themes and approaches while maintaining its own integrity and identity. Not once during the entire production is there an obviously stolen scene or camera angle replication.

If ever there was a movie more destined to become a cult phenomenon, I don't know if I can name it.

For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.

Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.

Interview has its moments but they can't prevent it from feeling a little long winded and unsatisfying.

Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.

Awake is short enough (about 85 minutes) that it doesn't wear out its welcome. It's not a good movie but it's silly and lively enough to keep most viewers from dozing off, even if that might be a more profitable use of their time.

Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.

Towards the end, Murder By Numbers reverts to form with cheesy clichés, plot twists, and a fair amount of unnecessary action, but that's easily the film's low point.

Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.

There are enough laughs to justify it being labeled as a comedy but a stronger storyline than one normally associates with this kind of film. It's an enjoyable diversion amidst the big guns of summer.

A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.

Whatever social statement Ordinary People was making about its time has evaporated during the intervening years, leaving behind an open, honest drama lacking the emotional punch that would make it unforgettable today. Ordinary People should be devastating, but it's not. By any standards, it's still a good movie, but three decades have stripped away any pretense of greatness. [21 Feb 1999]

One of the most compelling character-based films to emerge from the decade of the 1960s.

It's not as clever as it thinks it is, not as funny or exciting as it should be, and not as engaging as it needs to be to prevent kids from losing interest and parents from falling asleep.

What sets this apart from its many competitors for teen dollars is that not only does the movie feature a surprisingly edgy and intelligent script, but it offers a group of characters capable of holding an audience's interest for more than 90 minutes.

Tells a good, intelligent story that keeps us interested and involved.

This feel-good motion picture is intelligently written and expertly directed.

The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.

In its day, it provided the ultimate two-hour vacation from the stark day-to-day realities of living during the Great Depression. For 21st century viewers, the film is little more than a curiosity, although it's entertaining enough.

Feels a bit like a missed opportunity. It's too bad the motion picture as a whole isn't as quirky and clever as its double-edged title.

An insult to anyone who has tragically and unexpectedly lost a loved-one in a similar manner.

The Day After Tomorrow is filled with bad dialogue, stock peril situations, and sketchy character development, but it's a big enough spectacle that those things don't completely derail the film's capacity to be enjoyed.

Even though Moore sleepwalks his way through the part, making it apparent that he should have departed two films ago, and Tanya Roberts can't act to save her life (although she certainly can scream), we're back to a more conventional, straightforward Bond than the convoluted mess of the previous movie.

Neither smart enough nor funny enough to have cross-over appeal to any other demographic.

The most interesting personality in Ed Wood is not the title character, but Bela Lugosi. So covered up with makeup that he's barely recognizable, Martin Landau gives a deeply-felt performance -- a eerie and stunning recreation of a man haunted by lost fame.

A cinematic excursion so horrific that it's an insult to bad movies to call it a bad movie.

Big Fish is a clever, smart fantasy that targets the child inside every adult, without insulting the intelligence of either.

Of course, the problem with Angels & Demons is that to get to the final 40 minutes, it's necessary to endure the first 90, and that would be defined as cruel and unusual punishment.

The essential problem with the movie isn't that it's loud, violent, and gory, but that, before Carpenter ratchets up the tension in the final 35 minutes, it's not especially interesting.

MouseHunt is "'Home Alone" with a rodent in the place of Macaulay Culkin.

Berg's picture is certainly an above average effort that provides a solid emotional punch.

There's not a surprising moment in the movie yet it works in spite of the stale, insipid storyline. That has a lot to do with lead actress Katherine Heigl and a little to do with the glowing embers between her and her co-star, James Marsden.

It's airheaded just like the songs it embraces but, if you enjoy them, there's every reason to believe you'll appreciate the film.

Ultimately, while Wilde lacks the depth and substance of the best biographical features, it's nevertheless a strong enough contender to deserve a trip to the local theater.

It engaged me throughout and I found the ending to be surprisingly hopeful.

The Substitute has its moments, all of which fall in the realm of high camp. One scene not to be missed: Shale, attempting to get his class' attention, roars, "I'm the warrior chief! I'm the merciless god who rules over everything that stirs in my universe!" It's a hilarious moment, and I'm reasonably certain the director intended for it to be so. Nevertheless, aside from a lot of only moderately-satisfying violence, The Substitute comes across as rather lame. It's not boring, but that dubious qualification isn't enough to earn the movie a passing grade.

This represesents the smartest high-budget, high-profile science fiction film to have come along in quite some time.

An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.

More of a pretender than a contender in a field that includes superior entries like "Reservoir Dogs" and "The Usual Suspects."

One of Unforgiven's assets is the way it overturns conventions, taking the man who is typically the hero and making him the villain, while transforming the traditional bad guy into a sympathetic protagonist.

One could easily argue that, like many Ed Wood-type bad movies, The Faculty might be headed for the cult classic shelf in the video store. Unfortunately, it's not campy enough, and, worse, it seems to think it's being hip when it's just being dumb.

Put simply, this movie is dumb.

Action fans probably won't be offended, provided they're not expecting Berenger to be America's answer to James Bond. There are occasions when Sniper shows flashes of promise, although most of these are short-lived. The film is capable of providing a one-hundred minute diversion for anyone who has nothing better to do. The potential is here for something much better, but, unfortunately, Sniper shoots itself in the foot.

It's an uncompromising movie that illustrates one of the most convincing personality transformations that I have seen in a recent motion picture.

Last Action Hero is sporadically entertaining, but it could have been a whole lot more. Trimmed down and better edited, this film might have been a top-notch satire. As it is, however, it gets caught someplace in between action and comedy, and never really comes across as a solid example of either.

Deep Water is a documentary, but it's also one part adventure film, one part Greek tragedy, and one part meditation on the role of the "hero" in modern society.

The film's first 15 minutes are by far the most fun (and could be the best quarter-hour of any movie released this year), with Samuel L. Jackson and The Rock letting it all hang out.

There's something a little annoying about a movie that tries this shamelessly to be endearing and family friendly.

Lucas manages to be touching, sad, thoughtful, funny, and joyous - it's a nearly-perfect portrait of the incredible highs and lows that accompany the high school journey of a square peg who doesn't fit into a round hole.

It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture.

Seven Pounds works better the more the viewer feels and the less he/she thinks. On an emotional level, one could decree that the movie is satisfying. On an intellectual level, it's disappointingly shallow.

Has its share of bitingly funny moments, and some of the comedy is quite inventive.

This new interpretation does few things better than the original, and many things worse.

The ensemble cast is diverse and accomplished, but, because of the time constraints, no one has enough time to register much of a positive or negative impression.

Has the potential to be a truly memorable film, and, for more than three-quarters of its running time, it is poised to live up to that potential. But then there are the final twenty minutes.

A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.

Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.

The Holiday is no vacation. Sloppy writing, an overindulgent editor, and poor casting have taken an intriguing premise and transformed it into an uneven mess.

The Host is a strange little movie: part creature feature, part social commentary, and part slapstick comedy. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.

A nearly flawless example of movie composition, with close examination revealing how carefully it was put together. For those who take a less studious and more visceral approach to movie viewing, it's also worth noting that Chinatown is a superior thriller - one that will keep viewers involved and "in the moment" until the final, mournful scene has come to a conclusion.

Echelon Conspiracy is a more evocative title than a movie this stupid deserves.

Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.

The movie hits its stride when it deals directly with the concert. The more peripheral Elliot is to the story, the better things become.

For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.

What a waste of a talented cast! There are times when it can be depressing to see so much acting potential wasted on a script unable to elicit the best from its stars, and this is one such occasion.

Straight viewing could result in brain damage.

As much heralded, "edgy" movies go, Transamerica fails to live up to expectations.

One of my problems with Black Narcissus is that I never found the characters credible. I didn’t believe any of them and their interpersonal conflicts contrived and artificial.

It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

Not a typical Disney family film -- thank god. Charming and thought-provoking, this is the kind of movie with the sweetness necessary to appeal to younger (although not too young) viewers and the philosophical richness to draw in veteran movie-goers.

It's hard to imagine anyone having the patience to sit through this movie except perhaps a handful of 11-year old boys seeking vicarious wish fulfillment.

The director is a poet of images.

At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.

One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.

Has enough charm and whimsy to capture the attention and imagination of children and parents alike, and arguably represents one of the best live-action family films to enter theaters this year.

An uncommonly intelligent espionage thriller that explores the moral and ethical dilemmas faced by agents who go deep undercover in the service of their country.

Most of the laughs are unintentional, but the result is absurd and laughable.

Despite the negatives, I'm still recommending Fallen on the strength of its complex plot and especially its ending, which I loved. The final scenes are startling, audacious, and unexpected. It's not often that a plot development takes me by surprise the way this one did.

The limp climax doesn't undo the solid humor, wicked social commentary, and delicious satire that precedes it, but it leaves an unpleasant aftertaste. In the end, Mean Girls isn't mean enough.

The story told by Jackson's The Lovely Bones is the same as the one related by Sebold, but it lacks the complexity and empathy evident in the book.

In fact, the title of this motion picture is quite apt -- Mimic does an excellent job of imitating not only Aliens, but several other science fiction and horror features, including such odd choices as Leviathan and The Thing. The derivative result is, as one might expect, moderately entertaining, but far from groundbreaking in its approach or execution.

While the idea sounds fertile, the execution is uneven, and the comedy sporadic at best.

The result, while not entirely devoid of entertainment value, doesn't work as a whole.

Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.

One of those movies in which the principals talk a lot but don't say much.

A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.

Aside from the inept "August Rush," there probably isn't a more clumsily manipulative motion picture out there this holiday season than P.S. I Love You.

The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés.

A stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption.

Perhaps the biggest surprise of all is that the film doesn't resort to an easy cheat at the end. It plays things straight, and still manages to satisfy, making this one of Sandler's most appealing outings to date.

There are no gadgets, forcing Bond to rely on his ingenuity (in one scene, when he needs to breathe while submerged, he uses hollowed-out reeds as air tubes). The single car chase is reasonably straightforward. And, for the only time in the series, 007 is unmistakably brutalized, appearing bloody, beaten, and disheveled as a result.

Planes, Trains, and Automobiles is one of those rare movies that manages to mingle outrageous comedy and light drama in such a way that we aren't repulsed or offended by its simplicity and occasional mawkishness. It's a fine cinematic treat that doesn't demand much from a viewer, but gives back a lot, both in terms of laughter and good feeling.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

Affable, but, as something with more ambition, it disappoints. Herek has once again found the feel-good path to mediocrity.

As coming of age stories go, Wah-Wah does little to distinguish itself.

Some of Poetic Justice is quite good, if unspectacular, and the dialogue has a consistent ring of truth.

Pump Up the Volume, in addition to presenting an engaging story, has tapped into a universal truth about rebels with causes.

Deliver us from directors who think that asking cast members to overact is the only way he can cover us the numerous ludicrous weaknesses of his screenplay.

A horror film that starts out creepy but ends up disjointed and borderline- incoherent. It's a shame that the final product isn't a little better packaged because, unlike many lame entries into the genre, this one actually contains a few interesting, philosophically titillating ideas.

Takes the traditional romantic comedy and tweaks it by way of "The War of the Roses." Rarely has strife between the sexes been so ruthless, so civilized, and so funny.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

Watching a misfire like Thunderbirds illustrates how impressive the "Spy Kids" movies are.

A film of uncommon depth, intelligence, and sensitivity.

This film is sometimes funny, sometimes joyful, and sometimes poignant, but it's always warm, wonderful, and satisfying. Cinema Paradiso affects us on many levels, but its strongest connection is with our memories.

Want to see a movie where almost everything takes place on a bus? Try "Speed." Jeepers Creepers 2 isn't even worth a peek.

A fun, fantastic adventure, but, watching it, I had the sense that it could have been even better than it is. I was diverted and entertained, but never truly absorbed.

Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.

The "Apatow formula" is pretty simple: raunchy comedy, likeable characters, and a dash of sweetness (but nothing too sweet). Drillbit Taylor fulfills the third characteristic but falls short in the other two.

Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.

It's an epic pretender, not an epic contender.

A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.

A wonderfully nostalgic, and occasionally insightful, window into the recent past.

Levy and Jackson save the day, and the film. The Man isn't great entertainment, but it contains enough laughter-provoking material to make it worth a look.

This movie seems better suited as cable or video fare than for theatrical viewing.

The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.

The movie ends up feeling superficial and mechanical. Warhol is a cut-and-dried villain rather than a complex individual.

A bad movie. No amount of perfume sprayed on talk show audiences by Madonna and her husband can eliminate the stench of failure emanating from this motion picture.

There's nothing new or unique about the story, but it is presented in a manner that reinforces its immediacy and impact.

This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.

This is not Schrader's finest work. The script is not tight, the ending disappoints, and there's a little too much drawn from American Gigolo. But there are some great one-liners, compelling actors, and well-developed characters.

As intense and as harrowing as any British thriller to emerge from the east side of the Atlantic in recent years, and there are some good titles vying for that distinction.

Meet Joe Black has the dubious distinction of being the longest film to date of 1998. It is also one of the most tedious and bombastic.

Easily the best non-Disney animated movie in recent memory, and it is good enough to rival such titles as “The Lion King” and “Aladdin.”

The level of humor is sit-com-ish at best and the film's dramatic elements are bland and uninvolving.

Redundant and unnecessary.

It comes across as painfully politically correct, offering trite sermons on various "hot-button" issues (gun control and the greenhouse effect). The narrative follows an unwavering by-the-numbers strategy with an ending that echoes the "cornball" of Al Pacino's climactic Scent of a Woman speech.

Isn't just fine family entertainment, it's superior family entertainment.

This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.

There's no shortage of candidates for the fatal flaw: the artificial storyline; the presence of a ridiculously cliched character; the lack of chemistry between illicit lovers. Blaming one of these problems is probably unfair. The movie's failure is likely based on a fusion of all these, and perhaps a few others.

An unabashed excursion into feel good territory.

Some of the dialogue is astonishingly awful. Sex and relationships are constantly likened to animal interaction.

While Ernie's on-field accomplishments were extraordinary, it was the environment in which he struggled to achieve them that makes him the worthy subject of a motion picture.

Obviously not a movie for everyone, Man Bites Dog boasts graphic displays of murder and rape. There's very little of the human body -- inside or out -- that isn't shown at one time or another during the course of this movie. Nevertheless, if you do venture to see Man Bites Dog, you would have to be made out of stone to miss the visceral, sardonic impact of a highly-unusual film.

This Is Spinal Tap is virtually guaranteed to appeal to nearly everyone. The film contains everything from laugh aloud moments to scenes that will have even the most dry, humorless viewers smiling with unrestrained mirth.

The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.

When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi.

Poseidon is devoid of anything that might conjure up memories of the Winslet/DiCaprio coupling. Its straightforward action/adventure approach is both a strength and a weakness.

Enjoyable for a movie in which pretty much nothing happens.

The occasional laughs provided aren't frequent enough or uproarious enough to warrant an investment of nearly two hours of a viewer's time.

It's amazing how boring an action movie can be when there's absolutely no point to all of the sound and fury.

Fans of the original will end up doing shot-by-shot comparisons. On every level, The Omen isn't just bad filmmaking, it's bad storytelling.

The two best words to describe the 2006 motion picture Miami Vice are "stylish" and "intense."

The best way to sum up Freddy Vs. Jason is: good concept, mediocre execution.

Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.

Sometimes funny, sometimes clever, and occasionally involving, but it's never brilliant and its edge is compromised by the neutering that accompanies the teen-friendly PG-13 rating.

The first is the best. When it comes to this kind of thriller, no movie has been able to top Jaws, although many have tried. And, as the years go by, it seems increasingly unlikely that anything will come close.

Extract is no masterpiece, but it's considerably better than many 2009 films that have received a more robust backing.

Let's get this straight from the start: Slither isn't great art, but that doesn't mean it isn't good entertainment.

While much of the archival footage presented in The Last Days is new, the substance is familiar. These are the kinds of images that no Holocaust film can ignore, because they drive home the horror of what transpired five decades ago, half a world away.

There's some entertainment value, but the production as a whole is unfocused.

Still, for those who feel that too few movies these days offer the pure bliss of a testosterone overload, The Losers provides an antidote.

Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.

Fair Game is howlingly bad - so awful, in fact, that it can actually be enjoyed on a certain level.

Renaissance Man is a movie of moments, too many of which are mediocre or unfulfilling.

Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide. Currently, the film is available in the United States only in the director's cut. Warner Brothers, however, has promised an exhaustive box set next year with multiple versions. It will be interesting to see whether those editions offer new insights or expand upon the film's already rich tapestry.

Despite its problems, The Swan Princess is actually one of the better non- Disney animated productions to come along in a while. While the creators of Beauty and the Beast, Aladdin, The Lion King, and Pocahontas need not feel threatened, parents looking for something different to take their offspring to might find something worthwhile here.

In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.

By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.

Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.

A curious mix of smarts and schmaltz.

Although the storyline is predictable, the intelligent dialogue and top-drawer acting more than make up for the possible deficiency.

The comedy in The Sure Thing is genial and unforced. Most of it develops organically out of the characters and their situations. It doesn't grate and it doesn't interfere with the evolution of the central relationship, and it's effective enough to provoke the occasional laugh or smile.

Friday the 13th is neither tense nor frightening (although, to be fair, it is at times creepy and atmospheric, due in part to budgetary limitations that led to a low-key style).

One of the better offerings to be found in a year that has seen a drop-off in the quality of animated films.

As high camp, Willard might have something going for it, but not as a horror movie.

For Your Consideration will not go down as one of Guest's crown jewels, but it's nevertheless engaging.

Broken Arrow is "Speed" gone nuclear. Yet, despite all the explosions, violence, special effects, and other choreographed excesses, this film doesn't have quite the same impact. It's fun, to be sure, and the wild ride doesn't let up for a moment, but the level of tension isn't quite as high.

For those who are willing to brave the movie's shocking and unforgettable images, Saving Private Ryan offers a singular motion picture experience.

Carlito's Way probably should have been a taut thriller, but choices by DePalma in both presentation and editing have hamstrung it.

The film is far from perfect - the soundtrack occasionally chooses the wrong songs, there are times when the acting (especially by the supporting players) falters, and there are scenes (most of them throw-ways) that don't work. Aside from jump-starting so many promising motion picture careers (including Crowe, Heckerling, and members of the cast), Fast Times will always be remembered for one thing: showing respect for and insight into the members of its core audience, something that was as rare in the 1980s as it is today.

Works uncommonly well because of the effective manner in which it blends together its various elements: the WW2 prison camp setting, the courtroom aspects, and the issues of honor, racism, and redemption.

Despite high production standards and a slick advertising campaign, Primal Fear is as trite and routine as any made-for-TV courtroom drama.

It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.

The problem with Hostel Part II is the same flaw that afflicted Hostel: no tension.

If there's anything disgusting or grotesque that The Cook, the Thief, His Wife, and Her Lover doesn't dabble in, I'm at a loss to figure out what it is. This film, a wildly exuberant, bitingly satirical examination of excess, bad taste, and great acting, is the kind of over-the-top experience that will have timid movie-goers running (not just walking) for the exits. Taboos? If director Peter Greenaway has any, you can't tell by this film.

Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.

Possesses both an edge and a sense of self-mocking that's unusual for any feature, live or animated.

Little Odessa is an extremely complex motion picture, layered with powerful themes and fascinating characters.

Mr. Nanny isn't entertainment; it's an exercise in masochism.

A rich, multi- layered portrait of a director from Hollywood's Golden Age whose own life was as interesting as any of his movies.

For those with the patience to sit through this kind of unhurried motion picture, Time Out offers a compelling character study of an individual under the kind of strain we can all relate to.

Offers solid entertainment, it's too uneven to be considered memorable.

This film offers a compelling scenario of what could have happened. And Burger's look back through the recent mists of time is certainly no less likely or fascinating that Oliver Stone's in "JFK."

Kauf, whose Stakeout was a lighter blend of the same kind of elements at work here, knows just how to play the material to keep it enjoyable. That's not an easy task, considering that the main characters are pretty reprehensible and the basic plotline is about covering up the accidental murder of a cop. Nevertheless, in part because of a series of good performances and in part because Kauf approaches things with confidence, the results are positive. Gang Related may not be Pulp Fiction, but it's not a bad foray into tangential territory.

Randy Newman's songs are catchy and are effective within the movie's context, but I can't see any of them having "legs" beyond the screen the way tunes from the earlier animated musicals did.

Arguably Sandler's most enjoyable motion picture to date, but it's still far from a masterpiece.

To the extent that The Trigger Effect is intended as a tense, somewhat nerve-wracking thriller, it's adequate, and certainly better than the formula-driven likes of The Hand that Rocks the Cradle.

Overall this is a compelling and sometimes disturbing motion picture.

Cutthroat Island is a mindless diversion. If, for whatever reason, you decide to go, maintain low expectations. Hoping for more than a bunch of loud bangs and ridiculous dialogue will rob Cutthroat Island of its amusement value.

This is one of the year's most unabashed and powerful love stories, using flawless performances, intelligent dialogue, crisp camera work, and loaded glances to attain a level of eroticism and emotional connection that many similar films miss.

Louder, flashier, and more hollow than anything else out there.

This is unbelievably rich material, and I can say without reservation that Scott Hicks' work deserves the highest recognition. Shine truly does what its name says.

Hawke has made this movie his way and the result is a story that is by turns romantic and disquieting. It's well worth the price of admission.

The moment Showtime begins to take itself even remotely seriously, it loses whatever edge it might have had -- and that occurs less than 15 minutes into the proceedings. The best time for Showtime is no time.

A compelling piece of cinema.

In many ways, the concept underlying Lolita is more provocative than the actual material, which tends to be a bit long-winded. This is more the fault of the book than of Lyne's approach.

The transformation sequences on their own are disturbing enough to upset sensitive viewers (even though the first one doesn't occur until an hour into the 97 minute film, making the first two-thirds of the movie relatively tame, with the exception of a few appearances by Jack, who looks like a "walking meatloaf").

There's enough fun to be had that it's almost possible to ignore the stupidity of the story and the cavity that replaces character development.

Basically, this film is stale -- as unappetizing as week-old bread. With much better fare of this sort available on video (Airplane, The Naked Gun, etc.), renting a tape will be more satisfying, not to mention cost-effective. Loaded Weapon 1 is good for a few laughs, but there's no compelling reason to spend $5+ to see such a feeble feature-length comedy.

After a while, Factotum surrenders to monotony and only the performances are likely to retain the viewer's interest.

Four words say all that needs to be said about Shrek the Third: more of the same.

This is probably Murphy's best comedic performance since "Bowfinger." The adrenaline is pumping and the outrageousness is dialed all the way up. Murphy is often funny, and occasionally hilarious.

It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.

From an historical perspective, the story is interesting because it shows a different side of the war than what we're used to observing in motion pictures.

The result is a sharp, insightful, charming motion picture.

Has a fascinating premise; it's the execution that's sloppy.

First time director Jonathan Frakes (who also plays Riker, the Enterprise's second-in-command) injects some badly-needed energy and inventiveness into a series that, prior to this effort, was sinking under its own weight and boldly going nowhere.

A smart movie that does not simplify or candy-coat the rigors of the teenage years.

There are a lot of other bad things I could talk about -- the overblown score, the silly portrayal of the police, the bad dialogue, the poor lighting in almost every scene -- but I think it's pretty clear how few virtues Striking Distance has. In fact, one of the movie's few positive aspects is that it's too loud to fall asleep during, which is surely what most people would do if their attention was based on story and character.

Hocus Pocus is an occasionally dull, mostly pedantic motion picture with little to recommend it. It belongs on the long list of summer movies that will quickly be buried and forgotten until the surface on video in six months. For real fun at the expense of the dead, see instead Sam Raimi's Army of Darkness.

The Governess is solidly entertaining material with enough substance to lift it above the traditional period drama.

Whitmore's Brooks is a brilliantly-realized character, and the scenes with him attempting to cope with life outside of Shawshank represents one of the film's most moving -- and effective -- sequences.

The acting is top-notch. Colin Farrell, who seems to be gravitating increasingly toward smaller films, effectively channels his manic energy. He and Brendan Gleeson display chemistry in the Odd Couple vein, occasionally giving rise to instances of humor. Ralph Fiennes plays one of the most twisted roles of his career.

This is a workmanlike motion picture with solid performances. It's just that the superior production values are used in service of a mediocre storyline.

There's no compelling reason to see Deal. Everything it offers is familiar to the extent where even though it's not a remake, it feels like one.

This unexceptional and uninteresting story of a self-pitying borderline-personality teenager verges on being unwatchable as a result of McDonald's decision to bombard the audience with extraneous images in lieu of telling the story.

It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's "Reckless."

The story is unfocused and the character development is virtually nonexistent.

Glory is, without question, one of the best movies ever made about the American Civil War.

Saved by energetic musical numbers.

Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.

Features minimal dialogue. It is mostly about mood and images, and it moves at a glacial pace.

I suppose High Art is as good a name as any for this pretentious melodrama, an often- diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance.

Anyone approaching it today will find it horribly dated, badly produced, and filled with uninspired musical numbers and over-the-top performances. This is the kind of movie that turns off children of today's generation from titles made during the early talkie era.

The Pursuit of Happyness is long, dull, and depressing.

This is the kind of charming motion picture that can be viewed repeatedly without ever wearing out its welcome. With several triumphant musical numbers, an original villain, a smart and witty script, a cute romance, and a new, upbeat ending, this Little Shop of Horrors offers countless delights during its 94-minute running time.

With this film, every layer that you peel away leads to something deeper and richer. Tarantino makes pictures for movie-lovers, and Pulp Fiction is a near-masterpiece.

While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.

Frankly, Snow Angels is a downer. This isn't inherently a negative - after all, some of the cinema's most powerful motion pictures are downbeat. However, in this case, there's no emotional force behind all the gloom - just a sense that something's missing.

A delightfully dark comedy that, despite a cynical bent, offers viewers a good time.

A compelling, thought-provoking, and unsettling drama.