Jonathan Foreman

The originality and intelligence that made Smith's "Clerks" and "Chasing Amy" such refreshing pleasures are all but absent.

It's fascinating and moving all the same, both in its depiction of Iranian daily life and in its powerful portrait of female oppression.

It's unfortunate that the people DuBowski profiles tend to be self-indulgent or otherwise unappealing. It's still more unfortunate that the film focuses more on relatively easy issues of acceptance.

The girl you see stabbing and shooting prisoners and fellow trainees makes the killer from "La Femme Nikita" look like a wuss.

A sometimes glorious, sometimes disastrous folly.

Warm and charming and often witty, it's as good a romantic comedy as has come out for some time, with an endearing, perfectly pitched central performance that's a four-square triumph for Zellweger.

Engaging in a soap operatic, rather glib way.

Entertaining as he is, there are many times when you wish you'd been given a few more facts and numbers so you could understand what the young CEO and his colleagues were celebrating or bemoaning.

Generic memoir of lower-middle-class "white ethnic" life in the '50s.

As entertaining as it is amazingly faithful.

In general, it's a confusing, rather shapeless disappointment.

I was pleased by the forthright defense in Friendly Persuasion of Iranian cinema's use of children.

A wonderfully acted, strangely low-key prison movie.

It's hard to feel anything but disappointment and boredom by the time the picture grinds to a mystical ending.

Audiences may find that the deliberate, Kubrickesque pacing -- without his intellectual rigor -- causes them to tune out.

A rare and welcome reminder of how original, provocative and moving a low-budget independent film can be.

A gleefully cunning comedy.

Perhaps no movie could do Muhammad Ali justice. But this overlong but sketchy biopic by Michael Mann, in which style repeatedly tramples substance, actually does the great man a disservice.

If you're starved for on-screen nudity and sex garnished with art-film trappings -- The price you'll pay is putting up with the director's relentless Euro-pretension, manifested in a tediously contrived plot crammed with absurd coincidences, clunky symbolism and soap-operatic melodrama.

As a horror movie, even one inspired by the kitschy Hammer horror films of the 1950s, it's disappointing.

It's a shame that the book "We Were Soldiers Once . . . And Young" fell into the hands of writer-director Randall Wallace ("Braveheart"), a filmmaker who wouldn't recognize subtlety and understatement if they were to attack him in the street.

The result is inept, tedious kitsch that even at its best feels like John Waters minus the joie de vivre.

The whole thing is shot in an irritating, self-conscious way.

Uses the compelling true story of the triumph of the Enigma code-breakers as background for an invented but believable story of love, betrayal and heroism.

Slight but entertaining and occasionally touching.

A misfiring black comedy oddly reminiscent of all those bad 1990s movies about strippers getting killed at bachelor parties.

Hollywood movies are rarely as contemptuous of the audience as Dragonfly, with its half-witted, treacly New Age sappiness and its mechanical borrowings from other, better supernatural thrillers.

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.