Jonathan Foreman

Rescues a rarely performed tragedy and makes a brilliant case that it is the Shakespeare play for our time.

Perfectly enjoyable swashbuckling, eye-catching entertainment.

The sheer loathesomeness of protagonist Stephen Glass as portrayed by Hayden Christensen makes Shattered Glass hard to watch.

A perfectly enjoyable sci-fi thriller.

Much less mawkish and predictable than you might expect.

More prettily photographed pretentious rubbish from the ridiculous Peter Greenaway.

What makes Final Fantasy a final failure is a predictable, nonsensical plot, laughably lame dialogue and a surfeit of cloying environmentalist piety.

It's an original, and a gamble, and one of those movies that works better than it should, despite considerable flaws of conception and execution.

Isn't quite up to the comic standard of Rob Schneider's 1999 hit "Deuce Bigalow, Male Gigolo."

A lobotomized attempt to make a no-budget John Waters movie, Men Cry Bullets is a painful reminder of just how bad indie cinema can be - especially when it plays with gender roles. It's desperately unfunny and dreadfully acted, written and directed.

A delightful, fresh dark comedy.

Director Alfonso Cuaron ("A Little Princess") gets vivid, convincing performances from a fine cast, and generally keeps things going at a rapid pace.

The film's tongue is so firmly in cheek that, without being a spoof like "Dragnet" or "The Brady Bunch Movie," it has more in common with the "Austin Powers" films.

A non-thrilling occult thrillersolame and unoriginal that it would be an embarrassment for any director, much less a talent like Roman Polanski.

A profound disappointment, given its cast and source material.

Woo has never been particularly good at human stuff, and to the extent that Paycheck is, or should be, a love story, it feels forced.

It's hardly a dramatic story. You learn absolutely nothing about her personal life. But there is plenty of drama in that amazing, soulful voice and the songs she sang.

Undeniably powerful, grimly fascinating.

Although the jokes aren't as consistently funny as those in "Lock, Stock," once again writer-director Ritchie demonstrates a deeply pleasurable combination of verbal flair and visual wit while conveying the genuine, intimidating hardness of the English working class and its love of language.

A big, incoherent bore, interesting only as an example of assembly-line movie-making gone awry.

Shapeless, tedious, hopelessly bad sequel.

The acting, camera work and writing are all crude and amateurish, even by the standards of student films.

A terrific work of political and social satire set in a Nebraska high school that has the intelligence of (the less coherent) "Rushmore," while painting a much darker picture of politics and human relationships.

It strains belief that nuclear weapons couldn't kill off the dragons, but three people with crossbows could.

Almost everything about Ice Age proves to be disappointingly generic.

A far more impressive and affecting piece of filmmaking and storytelling than most movies put out by Hollywood this year, and offers, as a bonus, a glimpse into a fascinating, contradictory society.

There are some charming moments and some funny scenes along the way. But you end up feeling sorry for the likes of Ron Howard, Karen Black, Fred Williamson and Peter Bogdanovich, who agreed to play themselves in cameo.

Predictable, rarely scary.