James Berardinelli

The richness of its tapestry, densely woven from human emotions and character interaction, ensure it will never lose that relevance.

Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.

Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.

A fascinating portrait not only of a lady, but of the society and marriage that entrap, then attempt to destroy, her.

Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.

If not for Bornedal's stylish approach to the material and a couple of effectively chilling sequences, Nightwatch would have been a complete waste of time and effort.

A prefabricated example of shoddy workmanship.

Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.

Miracle at St. Anna is overlong and poorly focused. It tends to meander, the military context is not well established, and too much time is spent on interaction with underdeveloped secondary characters.

The strengths of The Underneath -- its atmosphere and character-centered basis -- are also its weaknesses.

From the beginning, it's apparent that there's something "off" about Youth in Revolt. It's not that the film is fatally flawed, but the tone is uneven, the satire is blunt, the comedy rarely generates more than feeble laughs, and the lead character never comes fully to life.

Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.

After the Sunset is a mess, but it's a breezy, fun mess.

I have never been a fan of the original Carrie, but, despite the different slant offered by The Rage, there's not enough new material here for me to like the sequel any better.

The Sting represents one of the most popular, widely-loved films to win Best Picture in the last half-century and an example of grand entertainment.

Several strokes short of a respectable finish.

There's nothing worse than a film which mistakenly believes it's the comic event of the year. For no legitimate reason whatsoever, When Nature Calls is full of itself to the point of being offensive.

Haggis' dialogue is virtually without clunkers, and it is delivered with the appropriate weight by a solid cast. Braff's limp performance is countered by Barrett's emotional riveting one (although he's in more scenes than she is).

From a purely technical perspective, Charlotte Gray is expertly made -- the cinematography and music are evocative, and lead actress Cate Blanchett has no problem holding our attention. But, while Armstrong gets the notes right, she fails to play them with inspiration.

At its best, Bon Voyage, Charlie Brown captures the flavor of the beloved comic strip gang but the stew is overcooked and things start to drag after a jaunty first half-hour or so. Overall, this is more for “Peanuts completists” than those looking to get a quick Charlie Brown fix.

In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.

Angel-A is an intriguing film, but more of an interesting failure than an offbeat success.

It is possible to make an engaging action/adventure picture of this sort, but The Scorpion King isn't it. The movie isn't godawful, but it's far from inspired, and, as I sat through its 90 minute running length, I found my mind wandering.

It’s a cliché to remark that “they don’t make them like they used to” but, in the case of Marty, it’s true.

It affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting. When the season is over, Minority Report will more than likely stand out as the best picture to grace multiplex screens during the Summer of 2002.

Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.

Isn't an especially good horror movie, it succeeds in enough different ways that such a defect hardly matters.

Bottom line: Do I recommend Antichrist? Tough to do, but tough not to. For those who are intrigued by the controversy, it may be worth the sacrifice, if only so you can evaluate it from a position of knowledge.

With its carefully-modulated combination of light comedy and drama, the film casts a gentle spell.

For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.

For 60 minutes, the movie appears to have found the right tone and approach, then everything goes wrong. It's rare to see a production that starts so strongly finish so weakly.

Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.

The Scent of Green Papaya is made all the more enchanting by its simplicity.

Everything (not just the flesh) is vibrant with life.

This lame animated fable, despite having "direct-to-video" written all over it, was released by Disney, in an act of unparalleled greed and desperation, into multiplexes.

An appealing, offbeat, one-hundred minute diversion for those who really are tired of monsters tearing down buildings and action heroes saving the world.

There is an audience out there for slower, more intellectual thrillers. This is a motion picture for them to discover.

There are times when, as diverting as it can be, Next Stop, Wonderland feels like a lengthy prologue to an as-yet unmade film.

For those who appreciate movies with a bite, Ridicule shows its teeth early and keeps them razor-sharp throughout.

A low-key holiday drama that's refreshing not only because it lacks the big discovery melodrama of most similar movies but because it's entirely believable.

If this truly is Ridley Scott's preferred cut, he has proven unable to justify the existence of yet another Robin Hood film.

The film contains some of the most exhilarating action sequences ever to reach the screen, a touching love story, and a nice subplot that has agent 007 crossing (and even threatening to resign from) Her Majesty's Secret Service. The problem is with Bond himself. Following Sean Connery's departure after You Only Live Twice, the film makers had to come up with a replacement. The man they chose, a model named George Lazenby, is boring, and his ineffectualness lowers the picture's quality.

Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.

With its combination of intrigue, romance, and adventure set against a World War II backdrop, the movie has an undeniable appeal. Flaws aside, Enigma is engaging and ambitious.

And, while it's not bad enough for me to suggest that it should have been left where it came from, this certainly isn't a shining example of Australian cinema.

Seen today, Going My Way looks and feels like a quaint, old-fashioned production that deserves to have been forgotten long ago.

The movie is populated by dislikeable individuals doing unpleasant things but isn't redeemed by the vein of viciously black comedy that made "The War of the Roses" and "Bad Santa" such devilish pleasures.

The concept may not be bad, but there are times when the execution borders on embarrassing.

Unlike in many character studies, the plot is more than just a simple framework. It is complex and unpredictable, and, as a result, provides the perfect means to better get to know the characters and understand the shifting nature of their relationship.

Ultimately an uplifting movie because it is about triumph.

The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.

As always, the voice casting is perfect. Throw in a moral, and some nice touches of technical accuracy (that fish keepers will appreciate), and the movie represents the best family film to-date of 2003.

The twists taken by the narrative, the quality of the performances, the superlative cinematography, and Berri's masterful direction make this one of the best motion pictures ever to cross the Atlantic Ocean.

There's a sense that a much better movie is trying to get out but it never attains escape velocity.

The result is an involving experience for all but the most fidgety children and an opportunity for parents to enjoy (rather than endure) a motion picture with their offspring.

Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.

Stay away from Birth not because of what goes on (or doesn't) in a bathtub, but because this is not a very good movie.

Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.

Bogged down by many of the problems that have plagued Disney's recent traditional animated features: anonymous voice work, poor plot structure, and the mistaken belief that the Disney brand will elevate anything to a "must see" level for viewers starved for family friendly fare. If there's a bright side to Chicken Little, it's that kids will love it.

The Thirteenth Floor shows what can happen when film makers fail to recognize that they need more than a concept to establish a full-length motion picture.

Unfortunately, Voight is not in every scene, and, when he's absent, Varsity Blues has a tendency to flounder, descending into the realm of formulaic sports movie melodrama.

Even Cowgirls is as close to an unwatchable film as there is available at this time in the theaters.

An enjoyable, although not ambitious, holiday outing.

Instead of a satire, they give us a tired, tedious victory-for-the-underdog story, and the unevenness of Ferrell's comedy makes it less appealing.

Taken as a whole, Freakonomics feels almost like an extended episode of 60 Minutes with a lot of childish animation and some awkward connecting sequences.

The best part of the film, unsurprisingly, is William H. Macy's low-key portrayal of Bernie.

Expectedly lowbrow and grotesque, but there are some truly inspired moments.

The movie often feels more like film noir than a war picture both in the way it is shot and in the manner in which the characters are handled.

For those who have the patience to become absorbed in this kind of drama, Vera Drake offers a stunningly real character portrait whose image will linger long after the movie has faded.

Ready to Wear doesn't have enough substance to justify its length, nor does it possess enough raw humor to leaven the flat spots. The jokes are inconsistently funny, with some being worth giggles, some eliciting hearty chuckles, and some prompting little more than shrugs.

Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.

A courtroom drama which is sufficiently different and thought-provoking that I can recommend it with a clear conscience.

Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.

V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.

Director Sidney J. Furie, whose previous career high-point was either The Ipcress File or Lady Sings the Blues, fumbles the tone as badly as Richard Lester did in Superman III, veering drunkenly from action/adventure to comedy. Gone is the sense of naïve grandeur that made the original Superman such an endearing production.

Shelton took a chance with this film. Given a less talented performer, Cobb could have been an awkward, over-the-top melodrama. As it is, however, the movie works much as Mrs. Parker and the Vicious Circle does -- as an unobstructed view of human degradation and the damage it wreaks.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

Sliver will surely be among 1993's worst.

Infectiously entertaining comedy.

The most likely facial expression to be elicited by Mona Lisa Smile is a grimace.

The Uninvited is a flawed production, but gratifying in the way it delivers. The interesting and unique elements of the movie effectively compensate for the formulaic way in which the plot develops.

This is unlike any other film I have seen... it's a great romance. It's willingness to flout conventions and eschew formulas is just one of many things to celebrate about this charmingly eccentric movie.

What the film does expertly is to weave together music, likable protagonists, thoroughly nasty villains, and a fun plot into a cohesive whole, with a result that is nothing short of magical.

Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.

In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.

While these may not be the most unusual themes to fashion into a motion picture, Rudolph's atypical approach to the characters and their situations makes for an intriguing, if not always pleasant, movie.

Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.

A sumptuous motion picture, a feast for the senses.

Although imperfect, it's engaging, thought-provoking stuff.

The Nightmare Before Christmas has something to offer just about everyone. For the kids, it's a fantasy celebrating two holidays. For the adults, it's an opportunity to experience some light entertainment while marvelling at how adept Hollywood has become at these techniques. There are songs (even if they aren't nearly as noteworthy as they should be), laughs, and a little romance. In short, The Nightmare Before Christmas does what it intends to: entertain.

In the final analysis, The Curse of Michael Myers is a horrific motion picture -- just not in the way the film makers intended.

Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.

The narrative is presented in a straightforward manner; Soderbergh doesn't employ any unusual chronologies. His style is frank, not quirky, and lends itself to a number of powerful images.

The storyline is all over the place, with numerous unresolved subplots sprouting out of thin air and being left hanging (presumably to be resolved in future movies).

Ends up being one of the end-year's best sources of pure entertainment. And for those who believe laughter is the best medicine, there's more than a bellyful or two to be found here.

It's a movie of moments, some of which are side-splittingly funny. Arguably, this is the most uproarious comedy that Allen has ever done.

he Celebration rips apart the placid facade of a familiar subject, leaving its audience stunned. As difficult as the film can at times be, the patient viewer will be rewarded.

It has all the elements one would expect from a "so bad it's good" feature: cheesy dialogue, a script that could have been written by two chimpanzees, acting that would make a high school drama teacher cringe, and lots of tight female bodies poured into tiny bikinis. Despite all of that, however, I found Into the Blue to be a real trial.

The dialogue is routine, frequently punctuated by cliches, and the character-building scenes do little more than waste time.

Ana is a vivid, vibrant individual and the movie's focus upon her makes it successful and accessible.

I recommend the movie both for Nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life, but rarely see on screen.

While no one is going to place Costner alongside Laurence Olivier in the acting department, he brings a likability to Dunbar that many better performers might not have been able to match.

Elements of Across the Universe are shockingly awful and the film lasts at least 30 minutes past the bearable stage. But if you like the Beatles and the idea of hearing about 20 covers of their work fills you with a perverse joy, this may be the movie for you.

Fincher eschews quick cuts in favor of long, leisurely ones. He knows what he's doing, and the proof is in the result. The suspense in Panic Room never ebbs, and that makes for a thoroughly entertaining -- if somewhat exhausting -- 108 minutes.

The tone, which veers uncertainly between dark comedy and suspense, is uneven, and the characters are not vivid enough to stabilize the load of a shifting, runaway plot.

Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.

Unfortunately, like far too many films, this one gives up the ghost during the last fifteen minutes, saddling an otherwise-enjoyable film with a dumb ending.

Designed primarily for those who are intrigued by theater, curious about Welles, or some combination of both.

A crowd-pleaser.

Fatoumata Coulibaly's peformance is striking. She plays her character with a mixture of determination and compassion.

Solitary Man gives Douglas a chance to act, not merely posture or show off for the camera. It's some of the finest, least forced work he has done in years.

As simple and straightforward a movie as one is likely to find in theaters today.

Dark Passage is a must see for fans of Bogart/Bacall.

The strong final third counterbalances the weaknesses of the first half. I prefer films that build to something worthwhile rather than collapse short of the finish line.

Typically, movies aimed at teenage audiences have little concern for things like intelligent scripts, credible characters, and meaningful dialogue. Better Luck Tomorrow contains all three, making it a hugely rewarding experience.

The critical question for the movies' producers is whether Harry will be as popular now that his legions of stalwarts know how it all ends. The smart money would be on answering that question with a resounding "yes!"

While the voice acting is fine and the story is nicely paced, the visuals are disappointing.

The Informers is nihilism for nihilism's sake; a bleak and borderline-unwatchable collage of misanthropes, self-absorbed a**holes, and pathetic weaklings as they struggle to move forward during the early 1980s in Los Angeles.

Although Shortbus doesn't work as porn (and I don't believe it's intended to), it also doesn't work as a serious drama. The storyline is juvenile and the characters remain poorly developed and incomplete.

Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

Comes across as a lame wannabe - a romantic comedy that lacks the level of outrageousness necessary to elevate it about the countless trite entries into the bloated genre.

An agreeable, albeit uneven, experience. Parker should take note, however, that, in some things, size doesn't matter and bigger doesn't mean better.

Sadly, the elements that made the book special did not survive the transition to the screen.

Diamonds Are Forever is plagued with problems. After a promising start, the story devolves into idiocy.

Director Rick Friedberg (who made the "bad golf" videos with Leslie Nielsen) has crafted a dreadfully unfunny comedy that takes Naked Gun-like sketches and rehashes them without a whit of style or energy.

Isn't the best coming-of-age story to hit the big screen, but it skirts new territory, and does so with a flare that earns it a recommendation.

95 minutes of unrelieved tedium.

For martial arts action fans, The Forbidden Kingdom may be the best fantasy story since the genre was opened to a wider audience by "Crouching Tiger, Hidden Dragon."

While this version of Les Miserables lacks the cleverness and contemporary spin evident in Claude Lelouch's brilliant 1995 re-interpretation, it is moving and effective in its own right, as a more "straightforward" adaptation.

While a child might be affected by the film, it takes the weight of a certain number of years to fully absorb what director Isao Takahata has put up on the screen.

What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.

It is sweet and sentimental and embraces the fantasy (although it would have worked better without the treacly pop songs on the soundtrack).

Take away the film's attitude, and you're left with "Son of Van Helsing."

The over-the-top acting is forgivable, but the plot's incoherence is not.

While Seven lacks the cleverness of the superior "Usual Suspects," it's strong enough to hold its own against most other thrillers.

Zero-star movies are a rare and terrifying breed - films that warrant recommendation only as an alternative to physical distress.

No matter what your opinion is of the movie, you're unlikely to be bored.

Grumpier Old Men isn't as fun, spontaneous, or amusing as the original. In short, it's a poor retread that can't be redeemed by the pleasure of seeing Lemmon and Matthau together.

The movie doesn't offer enough to make it interesting or even diverting.

To Kill a Mockingbird is a faithful adaptation of one of the 20th century's most important American works of literature. It is also a masterpiece in its own right. This is one of those rare productions where everything is in place - a superior script, a perfect cast, and a director who has a clear vision and achieves what he sets out to do.

The Incredible Hulk is a more traditional superhero movie than its predecessor and should please those who want their not-so-jolly green giant served with helpings of action. This film provides less talk and more smashing.

Eventually, Seabiscuit settles into a nice rhythm, and, as it enters the stretch run, it exhibits all the necessary elements of a good sports movie. Like the horse it's named after, Seabiscuit has a lot of heart, and, in the end, that's what won me over.

Takes all of the drama and suspense inherent in a submarine-based story and delivers it in a near-perfect package, establishing Das Boot as not just a terrific adrenaline rush, but one of the best movies ever made. [Director's Cut]

Watching Imagine That, I was beset by a feeling of intense depression. Is this what Eddie Murphy has become?

The writer/director may have a deep understanding of his material, but Mr. Jealousy doesn't offer anything original or remarkable, and, while what the film is saying often strikes a responsive chord, that alone isn't enough to earn it an enthusiastic recommendation.

Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it. Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it.

Wild Wild West isn't just a bad adaptation of a TV series; it's a bad film.

Never representative of more than mediocrity from a technical or story-based standpoint, the Ice Age series has reached a new nadir with its third entry.

As with most political thrillers, The Ghost Writer emphasizes plot development and atmosphere over action. It's an "adult" thriller as opposed to one designed for viewers suffering from ADD.

There's just one problem: it's not scary and it's not funny...Idle Hands transcends that mundane level of badness into the realm of gross ineptitude.

The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.

It's a dark and revealing movie, and, while the ending may not be upbeat enough for those expecting mainstream fare, it offers a measure of hope and a catharsis.

Aside from Snipes' well-tuned performance and a few clever scenes detailing superstar marketing, this picture is a veritable wasteland. Even watching the horror show that the real Giants have become during the 1996 season is more fun than this. The advertising slogan may be "fear strikes soon", but, when it comes to The Fan, fear, like the movie, strikes out.

The script is smart and sneaky - by never telling the audience more than is necessary, it develops a keen sense of suspense that persists until the gritty final reel.

Light, funny, and clever.

This is a tedious and insulting motion picture. The only ones likely to be surprised by the payoff are those who understandably dozed off fifteen minutes into the proceedings.

The movie does offer its share of thrills and cheesy, unsophisticated fun. Just don't watch it if you're planning any air travel soon.

The film has its share of high points, but the flaws are frustratingly obvious and impossible to overlook.

In short, Flash of Genius fails to make viewers care with any depth about the story it's telling.

As it is, it's a passable diversion.

It takes a confident actor to accept a role like this and to perform it to flawless perfection.

Ultimately, when the end credits roll, we're left with the sense that Star Trek represents a good beginning. As a film tasked with getting all the characters together, re-booting a timeline, and finding a way to return a veteran actor to his beloved role, Star Trek works.

Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.

Would probably have been more enjoyable if Berkowitz was less irritating. As a character, his only redeeming quality is his self-deprecating humor.

Following director Peter Jackson's powerful, true-life matricide tale, Heavenly Creatures, The Frighteners falls short of expectations by being just one of many in the long line of 1996 summer movies.

Anyone who understands what The American offers should come away pleased with the final product.

Bright Star is a nice ode to the poet, the love of his life, and the period in which he lived.

Enjoyable and inviting.

Despite its flashy production design and big budget, it's shallow and unsatisfying and primarily interesting for what it says about the views of society when it was made.

The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.

The House of Yes is what happens when a film takes the dysfunctional family melodrama to its farthest reaches. It's a bold, gutsy movie that's definitely not for everyone.

Although Killer Instinct is the better of the two parts, Public Enemy No. 1 is a worthy continuation, providing closure to a tale that was interrupted just as things were getting really interesting.

Joe is a masterpiece of special effects wizardry, looking more real than any giant primate ever to walk across the silver screen. By combining animatronics, computer-generated images, and a man in a costume, Mighty Joe Young creates a compelling illusion.

Despite the clever premise and several laugh-aloud moments, the film as a whole underwhelms.

Perhaps the most compelling reason to see Sunshine Cleaning is the pairing of two of the best and most charismatic young actresses today.

The battle between Max and The Blaster in Beyond Thunderdome may be the best the series has to offer.

This film is aesthetically pleasing but not emotionally satisfying. It's occasionally erotic but rarely dynamic.

This is another one of those pointless action superhero movies that unfolds like a video game in which the viewer is unable to participate.

Unless you derive pleasure from watching Lohan being tortured, there's no reason to subject yourself to this movie. Besides, if that's your goal, all you have to do is turn on tabloid TV. There's Lindsay's living hell of a life, being broadcast 24/7.

Feast of Love's greatest strength is that it's about people and involves universal emotions. It's not great art but it is enjoyable soap opera.

In the end, the real problem with the Demon Barber of Fleet Street is that he's not as bloody fun as he should be.

The best Star Trek stories are allegorical - in addition to telling an involving story, they're about something other than going into space and blowing up enemy ships. Insurrection continues that tradition.

If Apocalypse Now and The Deer Hunter are like slaps to the face, Platoon is a punch to the gut.

The Color of Money plays better when not under the shadow of The Hustler, which is ultimately a better and more compelling tale.

With a breakneck, don't-bother-to-stop-and-think-about-it pace, Tank Girl zips along for over one-hundred moments, only occasionally lapsing from its zaniness.

Constantine will appeal most strongly to those with a penchant for vivid cinematic comic book adaptations.

A perfect example of how solid directing and good acting can almost redeem a derivative story.

Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.

This isn't a perfect motion picture but, in the midst of summer's vapid pursuit of spectacle, a movie that provides real heart and emotion is a rare find.

Could it be argued that the movie is “so bad that it’s good”? I suppose, especially if you’re a connoisseur of cinematic guano. For me, Death Race is merely bad. I wouldn’t worry about finding a way to append the word “good” to anything associated with this film.

It's a calculated formula for success, and makes for entertaining viewing, but those expecting something with the spark of the first two pictures may be disappointed.

One of those films that does many things right, and that places it among the year's best period pieces. It's a cut above the usual BBC costume drama.

It represents a missed opportunity on every level. As a black comedy, it fails. As a satire of the bloated wedding industry, it fails. As a drama about friendship triumphing over all, it fails.

The Amityville Horror fails as a movie, but, if you are searching for are a few good scares, you'll find them here.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

Although The Night of the Hunter offers many pleasures for students of film history, its ability to captivate a generation for which its qualities are so foreign is as much an indication of how degraded film literacy has become as a counterargument to the movie’s timelessness.

It's compelling in the way many B-movies are - cheap, sleazy, and lacking the depth we have come to associate with this director.

Where's John McClane when you need him? If nothing else, the main character from the two Die Hard films would have livened up proceedings in this pathetically inept psychological thriller.

It's a solid performance from Leonardo DiCaprio, who has grown into this sort of "gritty" role and is more believable after having been seen dancing on the dark side in "The Departed."

A passable motion picture that features several memorable scenes. It's not a masterpiece, but neither is it a waste of time.

Orphan is being marketed as a horror movie, but that's misdirection. It's more of a standard thriller in the "evil amongst us" mode, about a group of people who inadvertently admit a psychopath into their midst.

A fast-paced, entertaining motion picture that replaces gritty tension with a lightly-dramatic character interaction that occasionally borders on straight comedy.

This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel -- pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue.

There's little here that's new or interesting; the movie is for hard-core Romero devotees only.

It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.

No one will ever confuse Ron Howard with Robert Altman. So, instead of a potentially hilarious satire, we're left with, as one character in the film puts it, "a joyous celebration of boobery."

Its strength is its humor, which is half-"Seinfeld" and half-"Sex in the City." There's a reason why those shows ran for only 30 minutes each - it's difficult to sustain comedic momentum for longer, as becomes apparent here.

While this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.

It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.

Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.

Feels jumbled and disorganized. It's not altogether unpalatable, but that doesn't present it from being a mess.

As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.

With an unnecessarily protracted running length of more than 140 minutes, Rio Bravo at times moves too slowly for its own good but the climax is as rousing as that of any Western made during the decade when the genre was at its peak.

Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.

Manages to entertain, even though it stays on the surface. It fails to deliver the hoped-for knockout, but also avoids the pitfall of an early-round collapse. While not attaining the greatness of its subject, it rises to a level somewhere above mediocrity.

Delivers its share of cheap scares but never unlocks the door to the creepiness that would have made this is memorable movie-going experience.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

Unlike most comedies, the jokes succeed more often than they fail, except perhaps during the concluding fifteen minutes, when the movie runs out of gas.

Quickly causes viewers to lose patience, then interest.

An incomplete movie, artlessly cleft in the middle. Cinema interruptus.

Brazil can be enjoyed without knowledge of the behind-the-scenes circumstances but the rich irony of the parallels between Gilliam and his fictional creation, Sam Lowry, add a layer of appreciation to the project that it otherwise lacks.

For what it is, Assault on Precinct 13 delivers. It's not great art, but, for B-movie fans and those looking for a mid-winter jolt of energy, it's good fun.

An enjoyable experience.

The movie is generally entertaining, if only because the three primary characters capture the audience's sympathy, but the story doesn't contain much honest drama.

The problem with the film is that it's frequently more tedious than funny.

One hell of a ride. For better or for worse, it will leave you stunned and reeling.

It's crass, cruel, and borderline offensive, but the laughs that could redeem all of that are missing. Material as bad as the tripe that comprises Norbit can be endured only if there's a payoff. In this case, the point seems to be that some actors will do anything for a buck.

Essentially a one-joke movie that milks its central conceit long after there's nothing left.

The Bourne Ultimatum provides a lot more suspense and tension than "Transformers" could hope for.

Mulan effortlessly blends serious, comic, and cute elements into a whole that should entertain the majority of movie-goers, regardless of race, gender, or age.

There are times when musical/comedy elements and the darker, serious drama of the love triangle war with each other. This is one of the great romantic tragedies of all time, and the film falls short of doing it justice.

Star Trek VI is an improvement over its immediate predecessor, but it lacks the energy and thrills supplied by some of the lower-numbered sequels. The original crew of the Enterprise is apparently fated to fade away rather than going out in a proverbial "blaze of glory."

The Net starts off strong but finishes weak, and if not for the presence of actress Sandra Bullock, who graces nearly every scene, this movie might have been a snoozer.

Despite an occasional narrative hiccup, this is a rich and moving motion picture.

Very little of what made the written version so enjoyable has been successfully translated to the screen, and what we're left with instead is an overly-long (two hours and thirty-four minutes, to be exact), pedantic thriller.

Almodovar also manages to conclude the film on a hopeful note, and one that will have many audience members wishing that he will someday return to tell more about these characters.

It has been a long time since I came as close to walking out of a movie as I did with Confessions of a Shopaholic. Not only did I find this production to be irritating, unfunny, and lacking in entertainment value, but I found its underlying slavishness to a culture of consumption to be morally repugnant.

The result is an unappealing mess, made less bearable by uniformly lackluster performances and the cheesy special effects.

While Bean branches out from the format developed for the television series, it remains faithful to the concepts and constructs that led to its success.

Isn't loaded with promise, but at least the producers had the good sense to hire Bill Murray. Jack is the kind of irritable, self- absorbed guy that Murray can play perfectly, and the comedian's presence in Larger than Life lifts it to a considerably higher level than it might have otherwise attained.

Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.

Today, nearly fifty years after it was made, Rashomon has lost none of its fascination or power. It's still a marvelous piece of cinema that asks unanswerable questions of great import.

Affliction is for anyone willing to take the journey into the heart and soul of a troubled man on the edge.

What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.

Although the forced ending, which seems deigned to create an unnatural moment of triumph, weakens the climactic catharsis, it doesn't diminish the naked honesty which forms the foundation of Dolores Claiborne.

This is as dreadful a holiday offering as you're likely to find this year. A lump of coal would be more welcome.

This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.

As biographical crime thrillers go, Killer Instinct is a worthy entry to the genre, although the incompleteness of the story makes it difficult to evaluate on its own. The movie needs to be seen in the context of a greater whole for it to be fully appreciated.

Director Robert Rodriguez understands the exploitation genre and delivers everything one craves from it - over-the-top, graphic violence; scenery-chewing villains; cheesy one-liners; and plenty of naked boobs and bums.

The only thing as bad as bad comedy is bad action. Bad Boys II has plenty of both.

The Boy in the Striped Pajamas should be heartbreaking, but it isn't. The muted quality of its impact is the result of narrative shortcuts and a desire to keep the images from being too startling.

Four Christmases is waste of time and a disappointment, but it's also relatively painless.

It lacks the simple elegance and intelligence of the earlier film, and employs special effects and pointless action scenes to replace passages of dialogue.

The end product feels trite and unfinished, with the romantic plot being awkwardly and unconvincingly shoehorned into a production that lacks focus.

On balance, it's a good movie but not a great one. Probably the only reason it's getting North American distribution is because of the involvement of Liam Neeson.

It is a rich and challenging motion picture that both affirms life and emphasizes its fragility. Eastwood touches our hearts and energizes our minds without resorting to overt manipulation.

It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.

The movie is consistently well-acted and features a gallery of characters so affable that it's difficult to actively dislike any of them, or, for that matter, the film as a whole.