Kevin Maynard

This avenging cat gets no action whatsoever. Neither does the movie, despite a terrific cast and a heap of street style.

Perhaps most depressingly, in pulling out all the stops for an ugly, violent climax, he (Schumacher) cheapens this vividly drawn slice of life, turning it into a tiresomely flawed, garden-variety vigilante thriller.

This is one of those movies in which there are only two types of people: officious yuppie pricks, and the beautiful folks who stop and smell the daisies. What keeps it (barely) from being completely intolerable is Keanu Reeves' hilariously awful lead performance.

An entertaining but insubstantial romantic thriller loaded with Euro-chic trappings and no small amount of sex appeal.

The more we realize that we're stuck in the company of a totally relentless loser, the drearier the entire experience becomes.

Makes for compulsive viewing.

As a snapshot of Hungarian history, Glamour's watchability trumps that of "Sunshine" — the droll absurdity of the former leaves a much deeper impression than the latter's bruising moralism.

Visually, Pitch Black is sleek and stylish in a post-apocalyptic way, and a scantily clad Radha Mitchell does a nice, more femme variation of Sigourney Weaver's Ripley.

What ultimately keeps Titan A.E. from taking off is an ordinary script.

Only really comes to exuberant life during the musical numbers.

Oy, it's such a pleasure that you'll be begging for Rush Hour 3.

A raunchy, scattershot, but often hilarious spoof.

Hits the wall and runs off the rails. They should've stuck to shtick.

Fans starving for some song and dance celluloid may be satiated, but this movie version really shows the material's age.

Dippy, funny, and fast-paced enough to be a guilty pleasure.

As classic romantic comedy goes, it ain't no "Tootsie."

It's so plot heavy it never finds its nimble comic rhythm.

An elegant, haunting folktale.

An audacious but underconceived blend of fiction and documentary that questions the idea of race and identity in America.

A matted hairball of a kiddie flick that's alternately maudlin and slapstickishly violent.

This one's all labor pains, and, in the end, nothing gets delivered.

Populated with whiny, unappealing characters that are impossible to care about and flatly staged sitcomish set-pieces...this lame Canadian import's a real woofer.

While both leads are appealing enough, it's the stuff on the sidelines that keeps All Over the Guy entertaining.

Oddly, Bully's only moments of power come at the film's end, after the crime takes place.

There's really nothing more to this by-the-numbers, ailment-of-the-week fodder dressed up with a classy cast.

"Footloose" meets "The Full Monty" in Bootmen, a cliché-ridden tap dance drama.

A modestly entertaining ride.

An amiable but contrived bit of blarney.