James Berardinelli

Were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.

I have come to the conclusion that it's impossible for a Steven Segal movie to be anything better than mediocre, and this particular travesty may be his worst yet. The title Under Siege is supposed to represent the situation faced by Segal's character, but it's equally appropriate in describing the experience of the poor viewer who sits through this film.

For those who do not consider themselves to be among the Sex and the City faithful, this is a painful experience, perhaps the longest 148 minutes likely to be spent in a movie theater this year. Watching grass grow is more dramatically satisfying.

Beloved is for those who want substance from a movie, and don't mind facing uncomfortable truths in the process.

It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.

The real standout is Alfred Molina, hamming it up as a desert entrepreneur who races ostriches and avoids paying taxes.

Isn't just bad, it's very bad.

Frustrating because it doesn't seem far removed from a wholly enjoyable motion picture, but the tempo's off, beats are missed, and the production ends up sounding out-of-tune.

Jumanji takes approximately one-hundred minutes for four people to play a board game. The result isn't much more fun or involving than watching a few friends play Monopoly.

The Hills Have Eyes gets points for gore and general creepiness, and for occasional periods of tension, but it's not scary enough to linger long in the subconscious.

Most viewers will discover this picture - and it is worth discovering - when it is released on DVD.

Director William Friedkin has created a stylistic picture, but this is an example of style without substance.

Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.

No Reservations may not be a modern day classic but, despite the relatively small budget, it has more heart than nearly anything currently playing in multiplexes.

Q & A is testimony to the validity of the old adage: a good story, when well told, can never be told too many times.

It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.

Despite being mediocre and largely forgettable, Couples Retreat is not unpleasant, although it's easier to recommend it for home viewing than for a trip to a theater.

Just a run-of-the-mill slasher/thriller.

One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.

Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.

Despite its numerous problems, Posse remains an entertaining film. Not only does it bring an innovative perspective to the western, it tells a solid story.

The result, while not horrifically bad, is as mediocre a motion picture as you're likely to find in a multiplex this season. It's tough to hate the movie because it doesn't generate enough emotion for that kind of passion.

Although none of the characters are fleshed out much beyond the comic book level, we nevertheless find our sympathies aligning with them.

Although not as expertly-crafted as "Die Hard" or "Speed," The Rock is exhausting in its own right -- and that's just one of several convincing reasons to see this film.

An engaging and powerful motion picture, every bit the equal of Merchant Ivory's best work, and certainly the most emotionally-wrenching tale they have brought to the screen.

It's easy to admire what the Coens are trying to do in Fargo, but more difficult to actually like the film.

No movie could be more aptly compared to raw sewage than this film.

There's no evidence of craftsmanship or energy. Everything, from the plot to the execution, is plodding and obligatory.

This film is like a shiny, red apple that's rotten to the core -- despite slick direction and a glossy sheen, it reeks of decay. Showgirls isn't a good drama, a good thriller, or even good pornography.

Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither.

The Answer Man is a passable way to kill two hours on a lazy summer afternoon, and perhaps an excuse to get out of the heat.

This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.

The story, although straightforward, is by no means simple, and there's enough in The Secret of Roan Inish to delight both children and adults.

If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.

It's a little sad that The Messengers is ultimately a good candidate for burial in a toxic waste dump because there are some good elements contained herein.

Safe does not succeed at everything it attempts. The film is overlong and there are times when more aggressive editing might have improved the pace. However, despite certain dramatic shortcomings, Safe is an insightful and darkly comical social commentary.

The sex is REALLY hot. Not hardcore pornographic (at least by my definition of the term) but close.

Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."

Moves slowly -- it's an unhurried, talky affair that consists primarily of members of the small group of characters interacting.

It is an accepted truth that adapting a sublime novel does not always result in a sublime movie. To an extent, this is the problem with Never Let Me Go.

Has a bold, inventive style that occasionally compensates for story weaknesses. And, admittedly, there's a certain visceral appeal to the action sequences.

The final result is an unnecessarily-long thriller that contains far more talking than action. Pakula's direction is lackluster, showing little of the style that permeated his two most impressive pictures, "All the President's Men" and "Presumed Innocent".

Despite its tendency to tread well-traveled roads, Just Cause is filmed with enough energy and craft that, for the majority of its one-hundred minute running time, it's reasonably entertaining.

As much as any other motion picture that employs the preparation and consumption of food as a key element, Mostly Martha provides the perfect blend of cinematic nourishment and gratification.

Uninspired and painfully familiar.

It makes for a fascinating exploration of the human experience.

It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.

Director Michael Cuesta hits the right notes with his characters. They are believable 12-year olds: intelligent (but not too intelligent) yet naïve, and trying with mixed success to navigate the path of adolescence.

Despite its good intentions, A Family Thing could easily have been a mediocre drama, but the excellent performances elevate the film considerably.

The good points about Unfaithful can't overcome the movie's eventual downward spiral.

Those who have an inherent distaste for this sort of entertainment will appreciate Conan the Barbarian's impeccable production values without enjoying the story; most everyone else will be swept away by the film's spectacle.

Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void.

This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.

Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.

There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.

That Sayles is able to say these things in the context of a compelling story with well-defined characters makes this one of the early fall triumphs of 2004.

The darker tone, somber subtext, and generally non-exploitative violence allow viewers to enjoy the film not only as an action/thriller but as something with a degree of intelligence and substance.

These are two fascinating characters, and watching them thrust and parry proves to be as impossible to turn away from as observing a grotesque roadside accident.

LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.

Mr. Deeds is flat, except on those rare occasions when Sandler reverts to form or when John Turturro steals one of many scenes.

This film mistakes action for energy, ridiculous circumstances for comedy, and a mismatched male/female pairing for romance.

The battle scenes are well choreographed and contain enough uncertainty to make them genuinely exciting, but one would expect no less from a man who has overseen Civil War engagements (Glory) and Japanese strife (The Last Samurai).

With its unique perspective on both the coming-of-age and thriller genres, the movie deserves to be seen by a wider audience than the one that normally frequents subtitled movies.

No one in their right mind goes to an Adam Sandler movie for any reason other than to laugh, and Grown Ups delivers.

Despite some obvious overplotting, Oscar and Lucinda is a mostly effective and often affecting motion picture that touches our hearts while daring our minds to balk at its implausible coincidences.

This is a slice of life with an imperfect beginning and conclusion, but what transpires between those two endpoints is strong enough to leave an impression on anyone with the patience to commit to a movie of such unhurried temperament.

Despite the best efforts of Barber the director, he never quite overcomes the shortcomings of Barber the writer.

It’s an adorable confection – light, airy, and largely without substance.

Isn't just an expose of the porn industry -- it's a provocative and involving character study, as well.

Amusing in pieces but, taken as a whole, it offers little, and the morality lesson is galling.

For parents looking to spend time in a theater with their kids or adults who want something lighter and less testosterone-oriented than the usual summer fare, Ratatouille offers a savory main course.

Regardless of how low your expectations are regarding Fired Up!, it will still surprise you, and not in a good way.

In his long and distinguished career, only his Oscar-winning performance in 1983's “Tender Mercies” was this raw. Duvall becomes Sonny. The energy and passion of a preacher are all present.

It works effectively as a period piece and, because of Roeg's atypical style, it retains a freshness and grittiness that allows it to work for a new generation of film-goers in much the same way it worked for those who experienced it four decades ago.

A wonderful motion picture, even given the weaknesses of the source material.

The Rocketeer may not be perfect, but it's an excellent example of how to adapt a comic book to the screen.

Without the impressive photography and energetic action sequences, Blue Crush would have been a lot worse. But, if the filmmakers had invested in real characters instead of cardboard cut-outs, it would have been a lot better.

American Splendor is deserving of accolades, not only because it tells an interesting story about a fascinating man, but because it does so with such freedom and freshness. I wish more of the comic book-inspired movies were like this.

Ten Items or Less is not landmark cinema nor is it deeply thought-provoking, but it's smart, funny, knowledgeable about life and people, and a crowd-pleaser.

The movie is still a little rough around the edges, featuring its share of scenes that, for one reason or another, don't work, but the overall effect is one of pleasant entertainment.

Unlike in many thrillers, the movie doesn't sandbag us with one last, cheap twist at the end. The Salton Sea contains its share of surprises, but none of them feels forced or artificial.

An infectious celebration of life and love.

Despite having the same title and a similar premise to a 1980 Jamie Lee Curtis flick (kids getting slaughtered on prom night), this is NOT a remake. In fact, it really doesn't have much of a plot. It's basically "The O.C." with a body count.

At an exceedingly long 135 minutes, the film needs more than what might result from the explosion of a Crayola factory, and Speed Racer has nothing extra to offer - no heart, no excitement, no moments to cherish.

The really disgusting thing about this movie isn't the crude jokes themselves, but how grossly unfunny they all are.

Two and one- half hours of gripping entertainment.

Plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy.

Flesh and Bone is all suspenseful buildup without shoot-outs, chases, and explosions, and its conclusion doesn't demand a neatly-packaged resolution. More importantly, it's one of the few successful '40s-type noir thrillers to grace the big screen in recent years.

Freaky Friday is motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial. It will please those who seek it out, and probably won't horrify or disgust anyone who ends up seeing it for other reasons (dragged along, bribed, or otherwise coerced). There are enough clever and/or funny moments to provoke laughter from even a scowling 13-year old boy who wants to be next door watching Terminator 3 for the third time.

A thriller with enough of the right ingredients to provide a couple hours of escapism.

The Exorcist's strength is that it places character development on the same level as the horror elements, but it is not a ground-breaking motion picture. It is also too long, with a setup that could have accomplished the job with equal effectiveness in about 2/3 the time. [2000 re-release]

The lack of family friendliness does not diminish what del Toro has achieved with this magical motion picture.

Fortress isn't terrible science fiction, but it's pretty bad. Hampered by a poorly- constructed storyline, the movie never gets on track. Instead of entering the rarefied atmosphere inhabited by such films as Aliens and the original Terminator, it falls in line with the likes of Freejack and Alien 3. Not the best company to be in, but it could be worse. Watch 1992's Split Second and you'll understand how bad things can get in this genre. After that experience, Fortress will look like high art.

Possesses the rare ability to make an audience laugh (and laugh hard) and cry, without ever seeming manipulative or going hopelessly over-the-top.

Although Big is generally lighthearted, it rarely plays for stupid laughs. There are a few of these, but the film avoids sacrificing character integrity for the cheap guffaw.

The marriage of these two tales, however, should have ended in divorce court.

Jennifer's Body mixes, matches, and crosses three popular genres: horror, comedy, and teen angst. Unfortunately, it fails at all of them - and "fails" might be too kind a term.

As long as you go into Garden State with reasonable expectations, its capacity to disappoint will be limited.

While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.

Dramatically, Disclosure isn't especially potent, but it isn't drama that Crichton and Levinson are striving for. On its own terms -- the fear of lost security that many thrillers prey upon -- Disclosure works, and that's all that anyone can reasionably ask from this kind of motion picture.

It's a bit of a throwback and a solid family film and, at the time, represented a well-intentioned leap of faith of the sort that studios rarely take.

In the movies, romantic love conquers all. In reality, it's a little different, and that's what Gray is trying to show.

Not much happens during the course of the movie but, as with all good dramas, the protagonists are richly drawn and the events of their lives become of interest.

The intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay.

Solid performances from David Duchovny (in a cleaned-up version of his Californication character), Demi Moore (defying age), Ben Hollingsworth, and Amber Heard can't save the movie when the screenplay goes as limp as a noodle and turns into a long string of clichés.

Hostage has suspense and momentum.

The movie teaches lessons without preaching, and focuses on the magic of relationships rather than that of special effects. This leads to a production as affecting for adults as for children.

Solid family entertainment, and it's better than 2006's previous tepid animated releases.

Liman applies the same frenetic approach to action scenes that made "The Bourne Identity" such an engaging and exciting affair.

I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.

For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.

This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.

It's refreshing to encounter a movie with a logical, intelligent approach to the dangers of zipping through time.

In order to appreciate I'll Sleep When I'm Dead, you have to be willing to absorb unhurried film noir, and to accept that the film's version of "closure" is a little frustrating.

Whatever goodwill the movie builds up during its first 85 minutes is thrown away in the idiotic, anticlimactic final ten.

The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.

A woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.

A plot that insults, betrays, and cheats every member of the audience. Stupidity to a degree can sometimes be forgiven. Stupidity to this degree can not and should not.

Probably best skipped - unless you have a penchant for shallow, "comfortable" foreign films that offer obvious messages and never attempt to challenge the viewer.

The Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.

On the whole, Star Trek V is a highly forgettable motion picture, regardless of whether you're looking at it from the perspective of a Trek lover or a movie-goer.

One could argue that such an approach isn't all bad - after all, it allows us to know and like the characters - but there are times when Ladder 49 gets a little too cute.

And, while there's nothing revolutionary or extraordinary about the dramatic narrative, the subtext gives Winterbottom's movie its force.

The film is not riotous, but it is sporadically amusing.

Once it gets beyond a hard-to-swallow setup and into the meat of its story, Boxing Helena is surprisingly involving...The movie discloses its terms early, and expects the audience to buy into them, making no apologies for what it is or intends to be.

Harsh Times occasionally echoes "Taxi Driver," Ayer's own "Training Day," and even "First Blood" in the way it examines the psychological disintegration of a character and the seduction of amorality.

Searching for Bobby Fischer is an intensely fascinating movie capable of involving those who are ignorant about chess as well as those who love it. The focus of the film is less on the actual game than it is on the people, emotions, and pressures surrounding Josh. It is a tale of human trials and triumph, not a sports movie that panders to a certain segment of the population. Chess may not be the most exciting activity to watch, but Searching for Bobby Fischer makes for engaging entertainment.

It's rare for a feature film to attain the trifecta of entertaining, informing, and educating.

A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.

The film is so exuberant that we don't care whether we're listening to Lou Reed's off-the-cuff comments about New York, watching Mel Gorham do a sexy dance in front of a mirror, or hearing Jim Jarmusch's ramblings on the romance of the smoking culture.

A lackluster melodrama with only a few inspired moments.

Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

The script is a problem. It's mundane when it should be magical.

trong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great."

Grabs you by the throat and digs its claws in deep. From the moment that the unwitting viewer tumbles into the realm of Lawrence Tierney's gang of eight, they are hopelessly trapped there until the final credits roll.

It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.

A nice little documentary that provides a view of recent history for those who didn't live through it, or a nostalgia trip for those who did. However, as vehicle for presenting anything new or surprising, it fails.

The Daytrippers is at its best using parody to paint an incisively humorous picture of a modern American family. We see here just how dysfunctional the typical nuclear family can be, and that "family values" aren't always the solution. Even though The Daytrippers is played primarily for laughs, there's a lot of truth lurking beneath the comic exterior.

This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.

Has some promise as a throw-away, lighthearted romance. Unfortunately, once those elements are gone, what's left only has a running time of about 13 minutes.

While "quirky" is a good descriptor for the production, Lars and the Real Girl isn't so bizarre that mainstream movie goers will reject it. This is an offbeat independent production that could become one of those big little fall surprises.

The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.

Despite the presence of three top-line actors and a fine supporting cast, City Hall never lives up to its promise. There's too little grit and too much predictability, and even the central character, Calhoun, is never better than half-developed. Director Harold Becker (Sea of Love, Malice) keeps City Hall well-paced, so boredom never threatens. Even so, as political thrillers go, this one stands below the likes of even Kevin Costner's No Way Out, and isn't close to the same category as All the President's Men. There's not enough substance or energy here to warrant more than a lukewarm recommendation.

After My Life's in Turnaround, one could reasonably expect something more than this -- a Generation X picture that takes angst to absurd levels -- from Eric Schaeffer. Unfortunately, what we are saddled with is a whiney, talky, stagnant movie that's more pretentious than romantic, and more dull than funny. If Lucy Fell trips early on, and keeps stumbling for most of its ninety-two minute running length.

It's not just about a disaster, it is a disaster.

After a promising beginning, this movie crashes and burns.

We've seen this story so many times that it's starting to wear thin. In many ways, Kicking and Screaming is mildly enjoyable, but all it really does is go over old ground with new characters.

The Program has its high points, but there are too few of them, and I suspect that many of the film's "insider's touches" are a combination of fact and fiction. Principally, this a formula football movie. Those hoping to see a hard-hitting drama about life off the field should instead prepare to be inundated by a load of feeble, unimaginative material that's almost impossible to take seriously.

Those expecting Dragon to offer a probing examination of Bruce Lee's life will be disappointed. This is not a "tell all" expose or a hard-hitting biography. Instead, it's a celebration of the first international Chinese-American movie star. As such, the film accomplishes what it set out to do while keeping its audience involved for its full running time.

The delicate air of romance that often makes this sort of film worthwhile is absent. French Kiss does it by the numbers, not from the heart.

A rousing tale that combines high adventure with emotional effectiveness. This movie works because it never loses sight of the characters no matter how epic the scope becomes.

This is a fairly standard-order bad taste movie, replete with all the characteristics of the genre: grotesque, over-the-top violence; copious blood and viscera; gratuitous, uncensored nudity; and borderline-pornographic sex.

It's an enjoyable and unpretentious perspective of life that reminds us how important and rewarding the little things can be.

The film tells a compelling story with many of the elements that audiences find appealing. However, 65 years later, there’s little about From Here to Eternity to differentiate it from other well-made productions of its era.

According to Schnabel, the movie is intended to celebrate the man's life, not to mourn his death, so Basquiat's last days are not shown. It's one of many miscalculations made by the director, because, when the end credits roll, we're left without a sense of closure.

The result is that the film comes across as preachy and clichéd. And, while the battle sequences are well executed from a technical point-of-view, they often seem repetitive and uninspired.

Represents the director at his best -- unsentimental yet powerful, funny and poignant, and, in the end, undeniably satisfying.

To be sure, A Little Princess has a few missteps. For one thing, Miss Minchin could have been played with less villainy, but younger viewers will probably appreciate the one-dimensional nastiness. There are also a few moments of overt sweetness, but these are easily forgiven. Actually, there's very little this movie has to apologize for -- it's the rare kind of picture that can be enjoyed by viewers of eight, eighteen, and eighty.

Having funny lines and amusing gags is only half the battle. The rest is in the delivery, and that's where the trio of Martin, Latifah, and Levy excel.

The Long Day Closes is very much the visual equivalent of a verse or a poem: beautiful images, but no narrative.

If there's an argument against the film (and, admittedly, it's not much of an argument), it's that the movie may not be suitably childish to appeal to younger viewers.

Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours.

Part of the reason The Devil's Own is endurable is because, in spite of various script deficiencies, both of the stars -- Pitt and Harrison Ford -- have an undeniable screen presence. And, while star power can't save a sinking movie, it can at least keep it afloat longer.

This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.

Maybe it's foolish to be disappointed by a pure popcorn movie, but as I walked out of this film, I felt it had failed in its mission of pure entertainment.

It fails to sustain its comic momentum or high energy level. The first half is fresh and funny, but it doesn't last.

Atonement is effective at getting under the skin, and some audience members won't like that.

Asian horror remakes are typically not screened for critics, and Shutter is no exception. The studios know what they have: watered-down, lifeless shells of motion pictures devoid of characters, drama, or anything remotely resembling horror.

Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.

It is a recognized truth of the movie industry that even the best film makers will have disappointments, and, for Woody Allen, Celebrity fits into that category.

Like all great craftsmen, Lucas has managed to fashion this material in a manner that not only honors the original sources, but makes it uniquely his own. Hacks rip off other movies; artists synthesize and pay homage to their inspirations.

This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.

A palatable film. It offers a few solid laughs and will provoke some smiles.

Red, the final chapter of Krzysztof Kieslowski's Three Colors trilogy, is a subtle masterpiece. With its satisfying exploration of such complex and diverse themes as destiny and platonic love, Red is not only a self-contained motion picture, but a fitting conclusion to the series.

There's enough drama here to fill two hours. Whether or not that happens, Rupert Murray's account represents fascinating viewing, and the richness of the subject matter more than makes up for the crudeness of some of the visual elements.

A superior horror film that offers a greater sense of disquiet than any other Dracula motion picture. Nosferatu the Vampyre may not be scary in a traditional sense, but it is not easily forgotten.

A mess of conflicting tones and missed opportunities. The only one to emerge unscathed is Kate Hudson, who exhibits qualities she has rarely shown since her breakthrough role in "Almost Famous."

De Laurentiis' Kong may not be a grand, glorious modernization of a classic tale, but it's two-plus hours of big-scale, occasionally-foolish entertainment.

In terms of power and effect, Eyes Wide Shut approaches (but does not surpass) Kubrick's vintage work - it is thought-provoking and unsettling.

The film isn't deep or thematically rich or filled with amazing characters. Instead, it's an excursion into song and dance, and works admirably on that level.

One of Bogart’s best acting performances. It shows his range – although having normally played an “alpha” character, here he is easily manipulated by the strong-willed Rose.

By the time the film is well into its second hour, we begin to wonder whether there's ever going to be a variation on the carnage and mayhem. As it turns out, there isn't.

Heartbreaker isn't disappointing enough that it will cause pangs of deep regret for anyone who pays to see it in a movie theater, but it will go down more easily as a home viewing option.

There's nothing quite like watching Samuel L. Jackson and Bernie Mac performing at a hoedown and getting into it with the audience.

This is not a story that cries out to be remade every 15-20 years. And, while the special effects and acting are getting better, the story isn't.

The passage of years have shown Out of Africa to be a nice, pleasant (if padded) motion picture that's long on visual and audio poetry and short on substance. It tells a grand love story in less-than-grand fashion but is nevertheless worth seeing because of all the other things it does right.

The dramatic scenes aren't generally effective, but the comic bits more than make up for most of the deficiencies. Those searching for something that examines a crumbling marriage with greater depth and sensitivity would do better watching Judy Davis in Husbands and Wives.

There are times when Austin Powers drags. It can be difficult to sustain even the best humor for ninety minutes, and this film, for all of the laughs it offers, is far from the best.

By offering opportunities to laugh, cry, and cheer, Little Voice satisfies in a big way.

Tideland is, by turns, a complete bore and a creepy experience. And I don't mean "creepy" in a positive sense.

The Last American Virgin tries to inject some honesty and emotional depth into an otherwise silly and raunchy storyline. Its success is mixed but that element at least makes it more interesting to watch than at least 75% of its contemporaries.

The latest offering from Edward Zwick, the director of "Glory," is the kind of movie that doesn't require much effort to surrender to and enjoy.

Few genres of films are as magical as musicals, and few musicals are as intelligent and lively as My Fair Lady. It's a classic not because a group of stuffy film experts have labeled it as such, but because it has been, and always will be, a pure joy to experience.

The movie worked for me both as a commentary on the electoral process and as a slightly overcooked thriller.

Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.

If the film is to work on any level, even a comedic one, it's necessary for the viewers to sympathize with Joanna and Walter. However, the script and scattershot performances keep them at arm's length. Nicole Kidman is in full scenery-chewing mode, and Matthew Broderick hasn't been this invisible since Ferris Bueller had to go back to school.

Joe Versus the Volcano is difficult to review because some parts are fresh, inventive, and entertaining, while others are near-misses or even complete failures. On balance, however, I readily admit liking this movie, although the second half pales in comparison to the first.

Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo

Loud, kinetic, unflinching action.

Taking advantage of the studio's breathtakingly intricate animation, directors Mike Gabriel and Eric Goldberg have breathed vitality into this, the fifth "new wave" Disney animated picture.

Johnny Mnemonic is brash, flashy, and loud, but it lacks a few key ingredients -- namely heart, soul, and intelligence.

This is no longer the James Bond we know from the '60s, '70s, '80s, and '90s. Welcome to the new world of MI6's most storied agent.

The ineptitude of the movie's drama is matched only by the failure of its humor.

It's not edgy or groundbreaking, but it tells the story it sets out to tell. For what it is, Kosminsky's picture is polished and effective. If only the movie had taken more risks or possessed a keener edge...

A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.

This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.

As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity.

Anyone who watches District 9 and doesn't think of Apartheid, Nazis, and Josef Mengele needs to spend some time reading a few history books.

It's not comfortable but it is engrossing.

It's a rousing science fiction story that proves an on-screen adrenaline rush.

Close Encounters of the Third Kind is unquestionably a great movie.

This is a smart, adult romance that rarely panders to clichés, and gives up the heady bliss of most such movies in favor of something bittersweet.

For a movie intended to explore the conflicts and difficulties inherent in any kind of love (be it humans for each other or for their music), The Thing Called Love is largely unsuccessful. More than anything else, it ultimately appears to be little more than a predictable melodrama. Country fans will probably find in this motion picture an appropriate expression of their music. Everyone else is likely to view The Thing Called Love with about as much enthusiasm as they would reserve for the latest Randy Travis release.

A beautiful film, not only in the way it was photographed, but for the manner through which the characters are revealed to us.

I like Steve Buscemi. I really do, which is why it's such an disagreeable task to write a review that condemns his directorial debut as a waste of film. I'm not talking about a good idea gone awry, I'm referring to something that's rotten to the core.

As a family film, Fly Away Home has something for members of every temperament and age group: adventure, pathos, technical detail about the design of the aircraft, cute animals, and human drama.

Fox should be paying potential viewers not to walk out of this turkey. The plot has all the depth and originality of a video game without the fun of the interactivity.

There's less whimsy to be found here than in "The Princess Bride," but the film is likely to appeal to the same group of older children and adults that appreciated Rob Reiner's classic.

Although many of the themes in An Autumn Afternoon are timeless, the film itself represents a snapshot of Japanese lifestyle in the 1960s.

This is a lame psychological thriller with an obvious story trajectory. It's a wannabe film noir with no atmosphere whatsoever.

Captures the essence of its TV inspiration, which is to say that it's not nearly as clever as it thinks it is. It also feels very, very long.

Despite being largely uninspired, the dialogue is peppered with enough profanity and salacious comments to keep the undiscriminating interested.

Calling this version of Dawn of the Dead a remake is applying a misnomer. It's more of a re-imagination.

Instead of generating a testosterone rush, the fight scenes release tryptophan. Not only are they boring, but they are choreographed in an amateurish fashion.

The biggest problem with Law Abiding Citizen, however, is that the plot is just plain dumb.

This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.

Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.

Cholodenko, whose previous features include the pretentious "High Art" and the sudsy "Laurel Canyon," pitches The Kids Are All Right at right level - there's enough light comedy to leaven the melodrama and keep it from becoming overbearing.

The main problem with Smart People is that it never breaks new ground. This is territory we have seen tilled to better effect by more perceptive motion pictures.

Christopher Nolan has provided movie-goers with the best superhero movie to-date, outclassing previous titles both mediocre and excellent, and giving this franchise its "The Empire Strikes Back."

I walked out of the original Shall We Dance? with a silly grin on my face. I left this one shaking my head, wondering where it had all gone wrong.

Has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.

From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.

The variation keeps things fresh and the relatively short running length (less than 90 minutes) ensures that Borat doesn't overstay its welcome - even though when it's all done, we wish this absurd man might have lingered a little longer.

After this disgrace, it's time to shut the hills' eyes for good.

Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.

Weekend at Bernie's 2 is made for a certain audience -- the indiscriminate movie-goer who will see almost anything that guarantees a few laughs. Those that belong to that group will find what they're looking for in this film. Almost all the humor is macabre and repetitive, but the film manages to be sporadically funny. Nevertheless, I find it hard to believe that many people will pay $6 or $7 to see a picture that has TV sitcom production values, writing, and acting.

The style feels a little like that of the recently departed TV show "24," albeit without Kiefer Sutherland, the split screens, and the ticking clock.

Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.

It's fascinating to see how life imitates art; the closing months of Tolstoy's life read like something he might have penned. One need not be familiar with "War and Peace," "Anna Karenina," or anything else written by the Russian great to appreciate the movie, however.

The problem with Mr. and Mrs. Smith is that it's really two movies in one. The first is a sly comedy/thriller worthy of Hitchcock, and the other is a big, noisy summer action flick.

The chief pleasure of High Crimes (and it's a limited one) comes from watching Morgan Freeman, who can bring a sense of integrity to even the silliest thriller.

For anyone who saw this movie while yet unaware of its horrifying potential for stealing money and time, you have my condolences. For those who stubbornly proceed while knowing the awful truth, you deserve what you get. Don't expect any sympathy from me if you're arrested while trying to burn the film or kill the projectionist.

The Hunchback of Notre Dame isn't bad, it's just a little disappointing. Despite the over-hyped and overexaggerated darkness of the production, kids will love it.

Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.

While this is admittedly not lighthearted mainstream fare, the subject matter is interesting and is handled in a manner that offers a compelling and sometimes unsettling 95 minutes.

It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.

The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.

The real problem with Desperado, however, is that this sequel is without purpose and may be the most unnecessary follow-up since the second "Crocodile Dundee."

Truth, they say, is stranger than fiction… and also potentially more nail-biting and harder to believe. Touching the Void is an extreme example of this.

12 Rounds is the unholy stepchild of "Die Hard with a Vengeance" and "Speed," starring a man whose lack of range makes Steven Seagal seem nuanced by comparison.

As profound and intelligent as it is moving, and that makes this memorable motion picture one of 1996's best.

5x2 is a little talky and the pace is slow, but, for this kind of motion picture, it's one of the best around.

Hitchcock does a masterful job blending all of Vertigo's diverse elements together. It's a love story, a mystery, and a thriller all rolled into one. It deals with issues of obsession, psychological and physical paralysis, and the tenuous nature of romantic love. Vertigo should really be seen more than once to be fully appreciated. Many of the darker, deeper aspects only begin to bubble to the surface on subsequent viewings. [Restored version]

Happy Feet ends on an upbeat note with singing and dancing, but the weaknesses that precede it deflate the euphoria.

The other actress to stand out is, unsurprisingly, Queen Latifa, whose intense screen presence makes her a force to be reckoned with even when she's simply standing in the background, not saying anything.

There is a reason why books are books and movies are movies, and Fear and Loathing in Las Vegas makes a pretty good case that the two don't always mix.

Thematically rich, impeccably crafted, and intellectually stimulating, the only area where this movie falls a little short is in its emotional impact.

Unfortunately, after the introductory sequences, Casino Royale begins a downhill slide. It gets progressively sillier and more incoherent until it's impossible to keep any of the plot elements straight.

This may sound like Woody Allen - in fact, it often feels like Woody Allen (minus the expected helpings of angst) - but it's not. Prime is from writer/director Ben Younger and, while it's not up to the level of Allen's great romantic comedies ("Annie Hall," "Manhattan"), it's better than anything the acclaimed New York auteur has brought to the screen in recent years.

Despite Tony Scott's occasional blundering, True Romance is still a visceral roller coaster.

What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.

This tale of four independent sisters of differing temperaments is undeniably melodramatic, but it's very good melodrama, with an accumulation of vitality and charm that elevates the movie to an unexpectedly high level.

There are occasional nice moments scattered throughout, but this is mostly a big, uncomfortable cartoon focused on the twisted attraction between two caricatures.

It is a cinematic abomination -- a source of embarrassment for everyone involved.

Fascinating and satisfying the way the diverse threads are knitted together into a single tapestry.

Despite its flaws, The Box remains intriguing; however, as its mysteries are solved, the prevailing sense is one of frustration rather than satisfaction. That makes The Box worthy of the dubious label of "an interesting failure."

It's hard to say whether Anchorman is the funniest movie of the year - it has enough offbeat and gut-busting moments to make it worth consideration in that category.

Are French films stuffy? At times, yes, and that's one of many reasons why even the most "accessible" French movies are relegated to art cinemas in this country. Irma Vep gleefully defies such facile labeling, however. This is a sly, sexy endeavor that presents its audacious viewpoint with style and intelligence. Irma Vep features some wonderful performances (notably those of Cheung, Leaud, and Richard), that, in concert with its sure direction and smart script, make for a wholly satisfying motion picture.

A paranoia-choked atmosphere is the primary reason why The Thing works as well as it does. The setup is standard stuff, establishing that the characters are isolated and can expect no help from the outside. The realization there could be an alien among them, and any one of them might not be human, is what launches The Thing into a spiral of escalating tension.

It casts a warm, relaxed spell that evokes feelings guaranteed to bolster sagging spirits.

Glory Road's strength is the way in which it blends social awareness into the sports genre.

Using black humor, blood, and a pair of tremendous performances, Freeway hones in on its targets and calculatedly skewers them one-by-one…This movie is both grimly funny and thought-provoking.

What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.

Superficial, uninformative, and inert, this two hour snoozefest isn't even inflammatory enough to stoke a righteous anti-Bush brushfire. W. does for recent history what Oliver Stone's epic "Alexander" did for ancient times.

Despite the weak dialogue, there are still some laughs to be had. At the end of this long journey, we're rooting for Harry and Erica to be together. For the movie to get us to that point, regardless of its motives and methods, it can't be all bad.

Eastwood has captured a peculiar yet involving slice of life.