Jonathan Foreman

If Schwarzberg had chosen to concentrate on eccentrics, rural artists or people like his New York bike messenger, female aerobatic champion and California cliff dancer, "Heart and Soul" would have been a much more interesting film.

Resolves the romantic dilemma in the most artificial and unsatisfying way. A blaring swing score and some obvious dubbing do little to ease the pain.

Unfortunately, Impostor doesn't do much with its template, despite a remarkably strong cast.

A messy, woefully uneven chick flick.

It makes not just the "Thief of Baghdad" and the junky Ray Harryhausen movies of the '60s and '70s but even Disney's recent "Aladdin" seem positively multicultural by comparison.

Without a real story to go with the notion of Farm Belt "wiggas," the humor wears thinner and thinner until it disappears.

Slick but painfully precious, it strains to be darkly romantic but is bereft of genuine feeling.

An ultra-stylized, empty mess.

In fact, for long stretches, especially during the first hour, it's as soporific as watching a bank of security cameras.

Travolta is terrific as a bad guy, making Saint almost sympathetic. His co-stars however, flounder in a sea of bad lines, with poor Romijn-Stamos getting stuck with the worst.

After a dreadfully clunky start, Left Luggage picks up and becomes quite moving.

Recycles gags from various, more successful gross-out and romantic comedies, but without any zest or imagination.

Much of Tomcats is actually boisterously, crudely entertaining.

Better than any automobile flick put out by Hollywood in a while and, thanks to some genuinely exciting moments, it is easily the most entertaining so far of this summer's big, brainless action movies.

Has some entertaining moments, thanks mainly to Bullock herself, who is surprisingly glamorous as well as endearing.

The sad truth is that TV series like "Dawson's Creek" do a better job with precocious teen dialogue.

More impressive than the sight of these acts on an eight-story screen is the excellent six-channel IMAX sound system.

Crippled by lame storytelling.

Draggy and contrived.

Flat dialogue and stiff performances (especially by the street kids, like Ballesteros, turned into actors by Schroeder) don't help.

Courageous, convincing performance by Dunst.

About two-thirds of the way through, a stupid, hyperbolic sensibility takes control of the project, running it screaming off the rails.

Eyes Wide Shut is Stanley Kubrick's Hindenberg.

Though it contains some very funny, cleverly written comic sketches, Human Traffic shares with other drug movies the problem that watching other people on drugs is not interesting.

Merely a watery, poorly directed update of "Clueless."

There is hardly a moment during this overlong, stunningly smug exercise in moral self-satisfaction when you actually care about a character, real or invented.

A test of endurance, and not just because you need a rather stronger word than "explicit" to describe this long-unreleased, self-consciously provocative film.

Despite some genuinely funny scenes, American Desi turns out to be inferior to the as yet unreleased "ABCD" and even last year's "Chutney Popcorn."