Kim Morgan

A spare, internally emotional movie like One requires something called screen presence. Its two leads have it.

Delivers the oft-trod subject of boys' sexuality with intelligence and freshness.

Blue Crush, which might appear exciting in an "Endless Summer"/"Where the Boys Are" kind of way, actually is really boring.

Beautifully acted, the film is touchingly human and, thankfully, devoid of any vapid, ironic kitsch.

A bit of exotic neo-noir, clunky in parts and long, but often engaging and artfully atmospheric as well.

Though moving, Together needed more opera to send us where great music frequently goes -- nearly over the edge.

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

All guts, no glory and, worse, bad story.

A lyrical, exciting adrenaline rush.

Really, we'd rather just watch a good documentary about the subject. And as the camera flings around, we occasionally forget about what could help the teens and think more about what could help the director: How about a tripod?

Entertaining, well-acted and hopeful about a world in which sexual orientation isn't a big deal, Big Eden is a pretty picture -- it just tends to be a little too perfect and cute for its own good.

It's fun, albeit a little messy, under the frequently punchy direction of Peter Berg.

It works for the most part, though some scenes come off contrived or directed without flavor. But thanks to the likable, rough-hewn crew and Forster, the film flows along gruffly and with eloquence.

Alas, the movie just isn't bouncy, fresh or funny enough. It's just not blonde enough.

Understands that extreme feelings bring out weird reactions. Tension and sadness will occasionally be interrupted by humor -- even slapstick.

Entertaining, disturbing, sad, outrageous and often hilarious.

This is not a movie about actors. It's a movie about racing, chasing, chicks and adrenaline -- just what many theatergoers are dying for in a summer dominated by a sweet ogre and a dumbed-down historical tragedy.

This is a movie where you can just sit back and revel in it, warts and all.

Though stilted and emotionally vacant at times, it's still an entertaining and absorbing experience.

On paper, it sounds like the start of a good film. Too bad McKee made such a lackluster thing of it. Though the horror comes from an interesting place, it's frequently forced, negating much of the humor and pathos the film attempts to instill.

This film might've worked better as a comedy.

Simultaneously modern and yet gorgeously primitive with its budget sets and simple but influential score, this is not just a film re-release but a film event.

Stays engaging, chiefly, through the textured, ambiguous performances of Spacey, Moore and Dench.

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

With very little dialogue and through what's essentially a gimmick, we come truly to like these guys.

Another Bond film that turns out to be an unspectacular spectacle, at times winking and fun but too often plodding and hackneyed. That said, as usual Brosnan is terrific, walking through dunderhead moments and a tedious plot with grace.

Though the picture is definitely flawed, it maintains a joie de vivre that's surprisingly refreshing.

For all its superfluous and self-conscious moments, the picture is a draining kick.