Kim Morgan

Frustrating, tedious and yet often compelling.

Nothing near a modern vampire classic. Still, "Queen" is a great dose of vamp camp

On face value, The Flower of Evil is pure Chabrol, but it lacks the power he brings to human relations and social classes, where often violent, masochistic themes are explored. But that doesn't mean he's done as an artist.

Although at times ridiculous, Behind Enemy Lines nevertheless thrills, inspires.

It's an odd, overly long picture, filled with too many pauses but dotted with just enough funky band sequences to keep you interested.

An unsteady mixture of treacle and dark comedy that never feels as "dark" as it pretends. Though well-intentioned, it's not terribly compelling.

It's still trite and a little too cutesy for its own good. Gay or straight, the cliches remain, but not to a stultifying degree.

'N Sync is bouncy, harmless fun. And so is this stupid movie.

Though filled with charm and led by three likable characters, the picture spreads its plot points and whimsy so thinly that we can never just relax.

Good, but, sadly, not good enough. Well-acted, beautifully shot and splendidly costumed, it's superior to the original in its looks, but not as potent or meaningful in its story line.

Terrific musical numbers and interesting premise.

A movie that drags.

So what will happen? Sadly, some overacting and a bad "And Justice For All"-style speech at the end.

Though exploring, among other things, fallibility, homosexuality, injustice and loss, the picture seems afraid to really make any kind of strong statement, whether political or psychological.

Marshall does such a good job re-creating the otherworldly energy of a temple of youth that the rest of the picture feels strained and sometimes trite. Nevertheless, parts can be absorbing, reflective and touching.

Though no classic, the concept is a clever one.

Sometimes complicated, sometimes incredibly simple, the film explicates or fawns over the human condition with occasional charm and poignancy but too often it's just cloying.

Westfeldt becomes irritating. That's one of the film's points, but it's made a little too well.

The performances are uniformly fine, with Perez showing a heavy amount of presence and complexity. It's no wonder the film works best when fixed on his face.

It's an interesting effort (particularly for JFK conspiracy nuts), and Barry's cold-fish act makes the experience worthwhile.

There are many merits to the picture -- it's wonderfully shot and boasts a beautiful performance by Eul-Boom, who acts in gestures of subtle dignity and compassion. But it's questionable how we're to take actor Seung-Ho.

Manages to feel both obvious and oblique: You feel the need to watch it twice but wonder if you would actually be up for it. It moves like a breezy techno-thriller but tangles itself with duplicities and metaphors. You get it, and then you don't get it, and then you wonder if you even care.

Needing the gristle of its title, the film should have been angrier.

Although amateurish, often poorly acted and containing dialogue and narration that comes off as pretentious and embarrassing, it's worth watching for the environment it envelops you in.

Basic essentially is a fun movie, surprise ending and all. To take it too seriously is to miss the point. Travolta is charming, his performance recapturing the old charisma.

The film isn't so much a demanding character study as it is a lot of pretty parts pushed together.

Judging by the beautiful photography of Salvatore Totino, Howard knows what a Western should look like. But the thrills suggested by the trailers, in which the picture is presented almost like a frightening supernatural horror story, are nowhere to be seen.

Amusing, funny (intentionally and unintentionally -- it's dubbed, so many lines come out ludicrous) and, by the ending, exciting.