Jami Bernard

Leaves the viewer exhausted, jet-lagged from the effort of investing equally in competing story lines.

It's a compassionate story about what makes people tick and what really matters.

Omar Sharif certainly doesn't disappoint in Monsieur Ibrahim. The casting alone promises something extraordinary.

Delightful and moving - although fanciful.

The movie is paint-by-numbers with several numbers skipped.

Earthlings beware: The dialogue and characters have less weight than bodies freed from gravity's grip.

This spirited documentary shows us the hazards of filming volleyball at nudist camps and the marketing possibilities of women mating with gorillas.

What Possession reminds us more than anything is that love is more exotic at the safe remove of history. The irony is that LaBute is more at home chronicling the present, yet that's where this movie falls apart.

It took the German restorers four years to ready this print using dupe negatives and old prints found in archives around the world. Their work speaks for itself. Each frame of this classic is drop-dead stunning, the more so now that the movie no longer hiccups its way across the screen.

Boorman doesn't shy from showing Cahill as a complicated man who, in one famous incident, nearly crucified one of his own men for a minor infraction. But the portrait is a loving one, full of empathy for an oddly principled man who, in another line of work, could have made a difference and lived to enjoy it. [18 Dec 1998, p.72]

An unerring sign of the awfulness of Malibu's Most Wanted is a series of the least funny outtakes ever appended to a movie's closing credits.

But while this terrific cast gets to strut and preen, it's difficult to make an emotional connection with most of them.

Big, bloated and only intermittently amusing.

A bouquet of snappy one-liners and disarming nuttiness.

A deliberately stupid movie whose crazy charm wins you over in the end.

A safely sanitized comedy with an important message about loyalty and individuality, plays to Lohan's strengths and gives the target audience a chance to live it up vicariously.

Lightweight, inoffensive fare, as bland as a sleepwalker under a hypnotist's spell.

It is a sweet, wonderfully acted cameo of a movie about the lengths to which a lioness will go to protect her cub.

Profoundly depressing.

It's too bad there's so little of LL Cool J as the secret object of Georgia's fantasies. He'd make a funny, nimble, sexy romantic lead with just a bit more screen time.

The result is a back-lot studio tour that's not exactly good-natured, but terrific fun and it gives the ensemble cast plenty of clowning opportunities.

It's a humiliating comedown for Ford, and he looks creaky and grumpy, obviously aware that he is miscast and dreading every scene.

Dano is a real find in this daunting role about a teenager's identity crisis. The subject of the movie is dicey but ultimately deeply rewarding.

It is not the worst movie ever made, as some critics claim, but it does a passing imitation.

The love and attention Oshii poured into animating Batou's pet basset hound proves that the human instinct dominates even in a movie dependent on technology.

Nicolas Cage does such a persuasive job of portraying Chicago TV weatherman Dave Spritz as a train wreck of a guy that you wonder whether this might actually be a training film for a psychoanalytic convention on hopeless cases.

Inordinately clever, sprightly romantic comedy.

It's hard to care what really happened on Wonderland Ave. when the audience hates the neighborhood.