James Berardinelli

Ronin manages to remain focused on the plot and the characters, even while staging increasingly complicated pyrotechnic set pieces and offering its share of white-knuckle moments.

Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.

Aronofsky's directorial style is simple and spare. There are no flourishes or attempts to convince us that he is a master of his craft.

Perhaps the strangest thing about 2012 is that the bad parts of the film are among the most enjoyable, because they're so over-the-top ridiculous that it's impossible not to break out laughing.

While the sluggish beginning and ending mar this Star Trek outing somewhat, there's still enough here to please fans of the series, and, to a lesser extent, movie-goers in general.

Winter's Bone is a welcome reminder that thrillers don't have to be loud and boisterous to grab the attention and keep it captive.

We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.

May be the best family movie of the 2002 summer film-going season. There's a simple reason for this - the picture seems to have been put together with the recognition that some members of the audience may be above the age of ten.

Lovers of drama featuring quirky characters will find things to appreciate.

In the Rambo canon, where does this one fit? The tone is closer to "First Blood" but the body count is more "Rambo III." No matter how one dices and slices this new Rambo, the first one in 20 years, it will likely please fans of the long-in-the-tooth series.

What's missing? Simple: the romance. This movie is so intent upon getting cheap laughs and putting the protagonists in uncomfortable situations that it forgets they're supposed to be falling in love.

Sex Drive's first 30 minutes may lead one to suspect there's nothing new to be seen here, but it undergoes a transformation once the preliminaries have been dispensed with. John Hughes would be pleased - and so also might Judd Apatow.

Every once in a while, a movie comes along that is so boring and pointless, that those faithful movie-goers who never walk out on a film have to find some alternative to watching the mind- numbing stupidity unfolding on the screen.

The chief pleasure to be derived from watching Cold Souls is that it's a journey into the unexpected.

All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.

It is involving and entertaining, and features an intriguing, independent heroine.

The two actors, Daniel Day-Lewis and Emily Watson (Breaking the Waves), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction.

It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.

Romanticizes gangland Chicago, but no more so than other films set in the same period. And, like almost every movie about the mob, this one deals with themes of family, loyalty, and betrayal -- albeit without the intensity of some of the great ones ("The Godfather," "Goodfellas").

A mildly enjoyable romantic comedy.

This is a film to be enjoyed on a psychological level for its keen understanding of the contradictory impulses that drive sexual and social intercourse.

Crumb is a rare and powerful documentary that completely absorbs the viewer and leaves an impression so blindingly clear that the afterimage cannot be blinked away even when the theater is far behind.

This movie is about mayhem on wheels, tough guys viewers can root for, and villains whose comeuppances audiences crave. That's what Death Race is all about and, for what it is, it does a solid job.

The most important features of this "new" version are the digital cleaning of the print and the re-mastering of the sound. There are a few added scenes, but they are mostly insignificant and have been previously seen (at least by fans of the movie) on the laserdisc or DVD releases.

As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled.

Eastwood has crafted something that works both as a sports drama and as an examination of the birth pains of the racially unified South Africa.

From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.

Great premise, terrible execution.

What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.

Enough is Apted at his most commercial, and, unfortunately, his least compelling.

Isn't quite good enough to elicit a purr, but it represents better-than-average movie-making that doesn't demand a dumb, distracted audience.

Despite the predictability of the overall story arc, there's suspense and tension to be found between the credit sequences, but the movie is saddled with an ending that is both improbable and borderline insulting.

This is a solid family film material, although one suspects the children will get a little more out of it than their parents.

For those looking for something positive, this is the only movie I can recall that features music from both ABBA ("Does Your Mother Know") and Handel ("Zadok the Priest"). Let's hear it for musical diversity!

It's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth a post-holiday expenditure of time and money.

One Fine Day has a few enchanting moments, such as a scene where Jack sweeps Melanie off her feet (literally), then splashes around in a large puddle of water. However, as a romantic comedy, this is a spotty affair because it's not really funny or romantic enough. Keeping the leads apart might work for something like Sleepless in Seattle, where the intention is to develop an old-fashioned, long-distance romance, but, in a movie like this -- one that's being pulled in so many directions that it's coming apart at the seams -- it's a mistake. For much of its running length, One Fine Day lacks focus and direction, and that makes it one fine mess.

A lot takes place during The Painted Veil's two-hour running length, but most of what happens occurs within the hearts and minds of the leads.

Like many entries into the genre, Jagged Edge works best when it's watched with a minimum of analysis. There are a fair number of gaffes, flaws, and other assorted problems, and the plot looks progressively less substantial the more closely it's examined. However, the bottom line is that the crux of the story - whether or not Jack is guilty - is engrossing, and it isn't until we know the answer that the movie really seems to let us down.

It’s far less engaging than the recent "3:10 to Yuma" remake and concentrates more on the details than the broad picture.

At its heart, Harrison's Flowers is a love story, albeit a graphic and difficult one.

When I watch a comedy, I want it either to present endearing characters in fun situations or to make me laugh frequently. BASEketball accomplishes neither objective.

It's the kind of high energy, fast-paced film where you can guiltlessly root for the heroine to persevere -- but that's all it succeeds at.

Generations spends its running length searching for, and never completely finding, its niche.

Because I so enjoyed the last 45 minutes, I'm tempted to recommend it. The problem is that you have to sit through an hour to get to the worthwhile parts.

The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.

With fresh dialogue and a willingness to show his protagonists in a less-than-favorable light, Demme has found a way to make this entry memorable.

Rocky Balboa is not as good as "Rocky," but it allows us to forget the other four sequels, none of which was memorable.

Die-hard fans of Witherspoon and the romantic comedy genre will probably find enough to like in this film to make it worth a trip to the theater. Everyone else would be best served by spending their hard-earned money on something else.

Cairo Time is a valentine to Egypt.

The movie is ultimately more interesting in satire than the presentation of a legitimate alternate timeline. This doesn’t invalidate C.S.A.’s approach but it limits its effectiveness as a sort of Twilight Zone look at the last 150 years.

Solid performances, an intelligent script, and sure-handed direction. The result is a movie that kept me involved from start to finish.

Ultimately, Goodbye Solo works because the screenplay, actors, and director combine to craft honest, compelling individuals.

It's likely that 2004 won't offer a better movie about a mid-life crisis.

National Treasure's storyline isn't compelling or coherent enough to warrant the term "plot."

The Night Listener is by no means an example of perfect filmmaking, but it is the kind of movie that stays with you.

Amateur is a curious mixture of high art and delicious campiness, and the result is a funny, insightful, and almost-hypnotic motion picture.

Under a director with less vision and ambition, Heat could have been just another routine crime drama, but Mann brings such an edge to the proceedings that the threadbare story takes on a new urgency.

The kind of expression of emotion that touches a deeper chord.

It's a slight-but-enjoyable effort, and it features something a little on the surprising side: an optimistic ending.

My sense is that adults will be more taken with Ponyo than their offspring.

If you want daring or original, Fools Rush In isn't the movie to see. Like 90% of all romantic comedies, it follows a time-honored formula that allows little room for variation.

It's astounding how a movie this long could accomplish so little.

sStarts and finishes strong, but, somewhere in the middle, it loses its focus and its way.

Intriguing but ultimately unfulfilling.

Quality-wise, however, there's a big drop off from sex, lies and videotape to Full Frontal.

Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.

In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.

When Interview with the Vampire works, it's as compelling and engrossing a piece of entertainment as is available on film today. When it falters, the weaknesses seem magnified.

This is one of those nearly unwatchable movies that becomes an endurance contest for any thinking adult.

Seagal fans will find that their hero is still in his usual form (his form, like his expression, hasn't wavered since he debuted in Above the Law). The action scenes are adequately directed (by Felix Enriquez Alcala, a TV director making the crossover to feature films), and there's a genuinely tense truck-and-car chase that is worth about 90 seconds of moderate excitement. The rest of the film is all by-the-book stuff, but that's what's expected whenever the name "Steven Seagal" tops the marquee.

If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.

While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.

The kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it.

Avatar is entertainment of the highest order. It's the best movie of 2009.

Disturbing. It is impossible to sit through Maria Full of Grace and not be affected by the circumstances of the characters. For that, the credit must go to Marston and his actors.

Aggressive editing could have shortened Giant considerably, but the three hour twenty-one minute running time permits the tale to breathe. And, even at this length, there are times when events feel rushed or compressed... So, although Giant may not be a classic in the purest sense of the word, it's a fine example of a virtually-extinct genre.

Compelling and life-affirming.

The ideas underlying Aeon Flux's plot are the film's strength, and the filmmakers deserve some credit for doing more than paying lip service to them.

The film has the twin virtues of being bold and dizzying...The greatest disappointment with Night Watch is that, at a critical juncture, it fizzles.

Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.

Ambitious material for a first-time directorial outing, but, even with a huge assist from his lead actor, Malkovich doesn't nail it.

Deeply flawed though it may be, Perfume is a challenging motion picture, and one whose impressions are not easily shaken.

A firecracker of a story - sharply written, superbly acted, and fast-paced.

Even the rare individual who died laughing while watching the trailer will discover that only half of that phrase - the "dying" part - applies to the experience of enduring the film.

This film is an autopsy of a family that has been sundered by the death of the father and primary care-giver.

A turd of T-Rex proportions, Land of the Lost makes one remember last summer's "Speed Racer" fondly.

Despite its general failure, some scenes from Clash of the Titans remain memorable. Chief among them is the duel with Medusa, a scene that ripples with tension.

For every thing that Stage Beauty does right, it fumbles at least one other element, resulting in a movie-going experience that is of the glass half-full/half-empty variety.

Ultimately, however, appreciation of The Phantom of the Opera will hinge upon your opinion of Lloyd Webber's skills as a composer.

War of the Worlds is not vintage Spielberg, and it's on the grim side for a summer action blockbuster, but it's worth the time and money invested.

As is often the case with pioneers, it is ragged around the edges, but the film's weaknesses are not enough to prevent it from being appreciated. Dracula is not scary; it's a little too campy and hokey to be so (especially by today's standards), but it is nevertheless an effective storytelling vehicle, and there are occasional moments of movie magic.

Talky and intelligent, and never takes the cheap way out. It's also something of a downer.

Does what it sets out to do: educates about a mostly unknown historical figure (without doctoring the facts too much), entertains, and uplifts.

At a time when juvenile movies often dominate theaters, this is an adult movie through-and-through, and evidence that there are filmmakers who care about entertaining a more mature audience.

Slow moving and low key, and, when the final credits roll, you feel like you have spent nearly two hours in the company of a few real people, not constructs of a writer's imagination.

Those who like stale, formula-driven comedies with sickeningly-sweet happy endings, not to mention unbelievably-contrived plots, will find Sister Act 2 an example of good entertainment.

Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.

Breach is competently made but, aside from Cooper's performance, there's nothing here worth getting excited about.

There is not a false note in Cry, the Beloved Country. Every scene is an example of near-perfect composition and execution.

Likely won't please fans of the original TV series, but the movie hasn't been made for them.

Simply isn't a very good motion picture.

This is a thriller with a high quotient of comedic elements or, if you prefer, a comedy with a high quotient of thriller elements. As is always the case with a production of Joel & Ethan, it's difficult to classify, but that doesn't make it any less enjoyable.

It's the most disappointing thing to come from the brothers in years.

It's great fun, but certainly not great art.

I left Wide Awake feeling the same way I did after seeing a number of Frank Capra's movies -- I was aware of the problems, but that didn't diminish the warm, fuzzy glow I was experiencing.

Kingdom of Heaven may have problems, but it delivers.

If there's anything special about the film, it's that on this occasion, the emotional realism of the characters, especially Slade, is heartwrenchingly believable.

This is truly a great film -- easily one of 1997's best.

There aren't many surprises, but the script is written with a degree of wit, and there are some bitingly funny one-liners (all of which are delivered by Garofalo).

Because so little of it works, the film is disposable.

--- Ho, ho, ho - the joke's on anyone who pays to see this.

If you've gone to Kung Pow for the plot, you have made a mistake. Come to think of it, if you have gone for the comedy, you've also made a mistake. In fact, if you've gone at all, you've made a mistake.

While parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.

Local Hero is a fragment of cinematic whimsy - a genial dramatic comedy that defies both our expectations and those of the characters.

A pleasant but relatively inconsequential movie.

Manages to mix in a few good gags with the requisite gore.

Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."

Flipped is Rob Reiner's best film in 18 years, and includes echoes of two of his most accomplished efforts, "The Sure Thing" and "Stand By Me."

The reason Sherlock Holmes fails at least as often as it succeeds is because more effort and attention was lavished upon the concept than upon the script. Given a worthy story, Downey's Holmes might have been memorable. Here, he's an interesting character in search of a worthwhile story.

It's still a lot of fun, and I welcome any film that keeps me entertained for nearly the entire running length.

It's pretty much assumed throughout art and literature that the collapse of civilization will result in the rise of barbarism. That assumption underlies Mad Max, where the strong prey on the weak, and Max steps in to be the equalizer.

The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.

Eventually, it had to happen: a computer-animated dud.

Chris Elliott is appallingly bad as the title character. Although his role cries out for an over-the- top performance, Elliott's grating personae cancels out any positive contributions he can offer in that area.

Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack.

For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.

It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.

Old School is exactly what director Todd Phillips intends for it to be: low-brow, moronic to a fault, and occasionally side-splittingly funny.

Pig in the City has been designed with the goal of recapturing the enchanting feel of the original while taking the story in new and different directions. It succeeds at both aims, standing as a worthy sequel to one of the decade's most innovative family features.

The characters in Brick Lane must define themselves and determine where "home" is before they can move forward, and that dramatic conflict lies at the heart of this motion picture.

Humor is subjective, but this movie made me feel as if I had been subjected to something unpleasant.

Without Lena Olin's performance, Romeo is Bleeding could have been an ordinary, or even sub-par, film noir. However, with a villainess as fun as Mona Demarkov, it's impossible not to find some enjoyment amidst Gary Oldman's dreadful seriousness and all the bloody corpses. There are some plot twists, and a few unexpected happenings, but in the end, it's Olin's character that keeps the audience in their seats.

A movie assembled from diverse pieces that don't quite match. It's the cinematic equivalent of a patchwork quilt.

While I acknowledge that Kane is a seminal masterpiece, I don't think it's the greatest motion picture of all time. Even so, there's no denying the debt that the movie industry owes to Welles and his debut feature. Motion picture archives and collections across the world would be poorer without copies of this film, which will forever be recognized as a defining example of American cinema.

The Time Machine is stupid -- too stupid for the impressive special effects or the competently directed action sequences to wash away the bitter taste.

This film is unable to involve, entertain, or titillate. Basically, it stinks.

Its plot-by-numbers story doesn't offer much in the way of surprises, and it doesn't have the emotional power of a Leaving Las Vegas or the euphoric quality of The Brothers McMullen. But Sabrina is fun in its own way, and, though clearly flawed, it nevertheless offers two hours' solid diversion (the overlong running time, by the way, is one of those flaws).

Casting helps the film work. Uma Thurman is among the few actresses who can pull off this role: the hot, buff, slightly deranged superhero and her dowdy, un-sexy alter-ego.

With solid performances and a terrific screenplay, this movie offers solid, no-frills drama that feels organic and believable, not contrived.

While Malice won't win any awards, it's a cut above the average. The result is a curious mixture that provides one-hundred minutes of entertainment.

Unlike its predecessor, this is not a light, mystical romance, but a somewhat muddled narrative that ends up resembling an offbeat action/adventure movie. It's still a film about issues -- humanity, the soul, time, and Nazism -- but it lacks many of the "art" aspect of Wings, relying more on straightforward storytelling.

There's nothing remotely memorable about this walk.

Regardless of the medium, this is an effectively brutal story of swords, sorcery, demons, and heroes, with an Oedipal hint or two thrown in for flavor.

When it comes to mockumentary parodies, no one does it better than Christopher Guest.

Westerns often take themselves seriously and, while Appaloosa is no "Blazing Saddles," there's a refreshing vein of understated humor running throughout the production.

Godsend is godawful.

She Hate Me is a mixed bag, but at least it's interesting and almost never boring.

Most of the film is dull and soporific. Breathtaking photography without emotional involvement can take an audience only so far.

Robots is more than a load of spare parts, but there are some sprockets and rivets missing.

One can give Ice Cube props for attitude, but not much more.

The Pink Panther is supposed to use humor to uplift. Instead, I departed this movie feeling depressed.

This is easily the best family feature of the early year.

Witness states its position about clashing cultures with eloquence.

Jingle All the Way is forgettable, and that, more than anything else, is why I recommend passing up this holiday offering.

Because the script is smart enough not to insult us and to develop a group of interesting characters, the act of watching the film is an entertaining experience rather than a tedious exercise.

Dealing with subjects that could easily have emerged half-baked, Lee instead applies his talent and comes up with a dish cooked to perfection.

In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.

Once you leave Wonderland, you may feel like you need a shower, but, while you're in the moment, it's a compelling journey into the depths of hell on earth.

This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.

While any or all of the events related during the course of the film might seem to form the backbone of an unendurably boring motion picture, everything comes alive because of Poppy.

The movie The Road is nowhere close to its literary sire, but it's probably the best one could hope for from a movie version.

This is one of the best of the subgenre, an action-packed movie that delivers adrenaline jolts with both barrels while not skimping on character development and wry humor.

The movie is pleasant but unspectacular, and at times it borders on being too cute.

Functions as much as a primer on how to conduct underground filmmaking as it does an offbeat romantic comedy.

The Break-Up is like Danny DeVito's "The War of the Roses," but without the wit, the acid, and the blacker-than-black humor.

Catch a Fire isn't edgy like some of Noyce's previous titles nor is it a big-budget endeavor with A-list stars. Instead, it's a simple and sincere tale of inspiration.

Despite being well made and supremely acted, Candy is a true feel-bad experience.

Kids will probably love this film but, to be frank, most children aren't that discriminating (apologies to the few who are). There's nothing in the film that's reprehensible (although some may find the concept of a one-hundred five minute commercial for a game offensive in itself), but I find it hard to believe that many adults accompanying their youngsters will be entertained. In general, about the best recommendation I can come up with regarding this movie is to turn on the Nintendo and play a game yourself. You'll have more fun, spend less money, and it will be over a whole lot faster.

Bug is creepy and hard to dismiss, but it's not a lot of fun and its weaknesses leave a bitter aftertaste.

Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.

The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.

With Honeydripper, Sayles has done what he always does: bring together a group of characters and allow us to relish their interaction. His affection for the characters is both obvious and infectious. We like them, warts and all.

A film that defies categorization, The Wicker Man can be considered to be a horror film, a psychological thriller, a musical, or a melodrama. In reality, since it includes elements of each of those types, it literally has something for just about everyone.

The Upside of Anger belongs to Joan Allen (for whom director/screenwriter Mike Binder developed the project).

Although targeted primarily for girls in the 12-to-19-year old range, there's enough truth about friendship, love, and life in The Sisterhood of the Traveling Pants to offer solid entertainment to almost anyone who gives it a chance.

Individual scenes are entertaining in their own right, but the production as a whole is a lumbering mess.

You laugh a few times but, in the end, you wonder why you bothered.

Director Philip Saville, working from a script by Adrian Hodges (which, in turn, is based on the novel by Julian Barnes), has crafted a competent, character-based tale, but the issues examined are stale, and Saville is unable to find a way to take the story to a newer, more interesting level

Unappealing for children and adults alike, The King and I will likely bring families together in their mutual boredom.

The Stepfather doesn’t hold up quite as well as it did during the late 1980s (some of the film’s technical aspects are dated) but it still generates tension and suspense and O’Quinn’s performance has lost none of its power.

Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs.

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.

The Western may be one of the few truly American art forms, and High Noon shows exactly how much potential it can embrace.

Structured as a comedy, albeit a dark one.

The Brown Bunny is one long, self-indulgent bore topped off with a hard-core porn scene featuring Gallo and co-star Chloë Sevigny.

A flawed but entertaining (and perhaps informative) tale.

It stands alongside this year's other werewolf disaster, "Blood and Chocolate," in illustrating why the moon should set on the werewolf movie.

Putting aside all the controversy, however, viewers are left with an expertly-directed and well-acted historical epic that disappoints only in its shallow perspective of the Irish/British and Irish/Irish conflicts.

No amount of youthful charisma can alter the fact that, in the light of "Dangerous Liaisons", Cruel Intentions is a feeble and dissatisfying shadow.

The curious thing about Father of the Bride Part 2 is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example

As disappointing as the wrap-up is, it can't erase the chilling psychological warfare that represents the majority of what precedes it.

The final minute of Halloween 4 remains as unsettling today as it was during its 1988 theatrical run. The real reason to see this movie is not for the predictable build-up, but for the cliffhanger provided by director Dwight H. Little and screenwriter Alan B. McElroy.

Offers the prospect of seeing beyond the stereotypes that plague Native Americans in even the best films.

As unlikely as it may sound, 2004 is the year when directors Kevin Smith and Garry Marshall have made virtually the same movie...Nevertheless, it's impossible to deny that Raising Helen is a near clone of "Jersey Girl."

In a head-to-head comparison, one would be hard-pressed not to declare that "Precious" is the better film - it makes fewer compromises and doesn't shy from showing the true ugliness only hinted at in this movie, but The Blind Side is more accessible. It's easier to digest. In the end, both films tell stories of triumph over adversity - a category of drama that uplifts while offering a dollop of social commentary.

Lost Highway is unusually bizarre even for this atypical director. Co-written by Barry Gifford, the film ventures deeper into the nearly psychotic supernatural than any feature Lynch has previous overseen.

The end result is an unremarkable, unmemorable movie that deserves neither praise nor approbation.

Despite being a low-key production, La Promesse speaks volumes about how we treat other human beings and what it means to truly grow up.

Stirring and emotionally forceful.

It's a cobbled together mess of clichés that fails to surprise at any of its turns.

Enjoyable in a shallow way, but there's nothing so special here that it warrants more than a cursory glance.

Halloween 5 is the movie that pushed the Halloween franchise into the generic slasher film category.

Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw.

In trying to do too much, Nowhere to Run succeeds at too little. Action fans will be disappointed by the amount of talk and the lack of fights. Drama lovers (few of whom will even bother with this movie in the first place) will have a hard time swallowing plot's artificiality. In the final analysis, despite not being a terminal bore, Nowhere to Run doesn't go anywhere worth following.

The picture is neither flawless nor foolproof, but it's smart and tight enough to keep audiences off-balance and entertained for the running length.

For a viewer in the mood for something rude, crude, and lewd, it would be difficult to find a more satisfying food.

For once, with How Stella Got Her Groove Back, Hollywood offers a love story that concentrates on the simple nuances of the romance rather than smothering us in an overly- melodramatic narrative featuring old boyfriends, jealousy, and hard-to-swallow misunderstandings.

Did You Hear about the Morgans? Yes and, to be perfectly frank, I wish I had been spared the experience.

Perhaps the most impressive feat of this film is sustaining white-knuckle tension even though the chain of events is well-known.

It's better than 90% of the animated fare of the last few years. It's refreshing not to have to qualify the movie's appeal by appending the words, "for the kids."

The result is sometimes enchanting, but, more often than not, it's frustrating, because the disparate elements of the plot never quite gel.

Runaway Train belongs to a rare genre: the intelligent thriller.

Represents a brave and effective fusion of serious and fantasy elements, and offers two and one-half hours of solid entertainment. Admittedly, there are times when West Side Story strikes a campy or discordant note, but those instances are overbalanced by the more frequent moments when it offers its own brand of cinematic magic.

Looks at isolation and the fragility of human relationships. It's a poignant, unsettling motion picture that will baffle those who have become used to Hollywood's compact, tidy endings.

Gallo's script is quirky and filled with a number of hilariously strange comic moments.

The strength of the acting and the modulation of the screenplay transforms what could have been a run-of-the-mill Lifetime disease-of-the-week movie into something more insightful and intelligent.

A bunch of IQ-challenged characters traipsing through a laughably bad scenario brought to life using silly dialogue, banal direction, and questionable special effects.

Vintage Moore, which means that it will enthrall many and enrage an equal number of viewers.

Heartfelt, but not to the degree that it becomes cloying.

How to Eat Fried Worms belongs to a vanishing breed - live action family films.

For the most part, this movie hits the right notes and gives its audience a dose of white-knuckle tension.

Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.

Much of the average viewer's time in the theater will be spent waiting somewhat impatiently for the high-energy climax. Catnaps are an advisable way to survive some of the slow spots.

A masterpiece... The genius of Dr. Strangelove is that it's possible to laugh -- and laugh hard -- while still recognizing the intelligence and insight behind the humor.

Chris Cooper, the consummate professional, has no trouble making viewers feel sympathy for a potential killer.

The dialogue -- especially that between Roy and Frank -- crackles with wit and intelligence (a rarity in films these days).

Tarantino keeps things moving along nicely, with a heavier dose of humor and less violence than in Pulp Fiction, but, on the whole, this movie seems more like the work of one of his wannabes than something from the director himself.

It's not bad enough to walk out on but neither is it good enough to walk into.

A standard-order romantic comedy with many of the expected twists and complications. It suffers from the flaw of not giving the lead characters enough time together.

The Crazies is imperfect but it's made with a degree of assurance that will limit fidgeting and keep most horror-lovers involved for a majority of its running length.

A lot of people are going to describe it as a waste of time, yet there's a likeability to the quirky characters that held my interest while tickling my funny bone.

Yojimbo does not cause viewers to ponder deep issues in the way Rashomon does, nor does it possess the epic grandness of The Seven Samurai, yet it must still be considered in the top tier of Kurosawa's films. Stylish, compelling, and involving, it became as much a blueprint for future productions as it is an homage to past ones.

Although Shrek Forever After is not as funny or as impudent is its great-grandparent, some of its comedic jabs land solid blows to the funny bone.

Then again, it's worth noting that this Hollywood production is actually saying something, rather than just churning out eye-popping special effects while relying on a regurgitated plot.

It takes the usual chases, explosions, and shoot-outs, and places them in plot that involves all sorts of computerized and electronic gadgetry. Often, as is the case here, not much attention is paid to whether the "science" is technologically feasible, but if something looks and sounds neat, why not use it?

The narrative is little more than a flimsy envelope -- it's the men and women who are sealed within that make Sling Blade worth watching.

There's a little bit of "Kiss Kiss Bang Bang" in Shoot 'Em Up, although this production isn't as smart or as slick.

The movie develops in two pieces - one dealing with the quest for the hidden riches and once concentrating on the relationship between father and daughter. The latter works; the former doesn't.

For those who are interested in observing the habits of real lions and viewing genuine life-and- death struggles in Africa, I direct your attention to The Leopard Son, which is still in theatrical release. That well-constructed documentary has stronger drama, tension, and cinematography than the supposedly-real story told in The Ghost and the Darkness. True, it's missing Tom Wilkinson sneering, Michael Douglas smirking, and Val Kilmer looking bored, but no movie can boast everything.

Agreeable enough motion picture, but not one that leaves any sort of lasting impression.

By trying to satisfy every kind of viewer, it's possible that Sphere may end up pleasing no one.

An unfocused mess, with poor chemistry all around and an ending that's as firm and satisfying as an overcooked noodle.

Nothing, no matter how outrageous, is beyond Smith, and his willingness to flaunt cinematic taboos is one of the reasons why Clerks is such a unqualified success.

Isn't terrible. It's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating, involving character study, but never does more than scratch the surface.

Compelling material, especially for those who believe that the lives and loves of the dead can impact the trajectory of the existences of the living.

The Last Exorcism is one of those rare films where the marketing campaign is more interesting than the film it publicizes.

This movie only takes a few minutes to crash and burn, but more than an hour and a half to realize it.

Like the candy from which it gets its name, Jawbreaker is fun at the start, but can turn into a chore to complete.

The humor in this movie is smart enough that even a moderate level of intoxication or inebriation is not necessary to enjoy it.

This is film noir for the MTV generation: fast-paced, slick, flashy, gleefully mindless, and hollow to the core.

This a neutered Garfield, one part tomcat and three parts pussy, recognizable only by his orange coat and love of lasagna. This feline's got a serious case of mange.

The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.