Lisa Alspector

The violence is suggested in a way that's neither overwhelming nor insulting to a child's intelligence as this crafty fairy tale ultimately finds a way for human and vampire characters to live and let live.

An effects vehicle disguised as a metaphysical meditation (or a metaphysical meditation disguised as an effects vehicle?), this strikingly unimaginative 1998 movie contains visuals that can barely assert their niftiness amid the vacuous themes.

Though the climax of the story is a little forced and sloppy, with both lovers behaving way out of character, this movie is aware enough of the conventions it's using that it's more moving than cloying.

Poor execution sometimes points up the difference between the telling of a story and the story itself--in this case, without diminishing the power of the latter.

It's hard to be diverted by a tale whose emblematic romances and terminal cuteness serve an agenda that seems particularly dated today.

All the comedy, tragedy, and various obstacles to romance seem to have been contrived to divert the story from its tendency toward pulp erotica.

This culinary fantasy is mildly inspired.

Though the questionable motives and bad planning of offscreen characters who far outrank Gibson make it difficult to take at face value one soldier's last words -- "I'm glad I could die for my country" -- some viewers will, which may be as the filmmakers intended.

The unusually thoughtful dialogue and soul-searching performances make this romantic drama seem deeper than it is.

The earnestness of some of the drama in the only deceptively unsophisticated narrative may be more shocking than any of the gross-outs.

But the bland plot involves nested crimes gone awry and a bad car chase or two, and its bulky, styleless exposition is hard to wait out.

Pretty funny caper comedy.

Demands that we see as coincidental if not ironic the ease with which Fraser cuts a rug at a swing club when he's hopelessly naive about everything else that's being revived in the 90s when he emerges.

This atmosphere-heavy drama, with its comfortably quirky characters, elegant performances, and ever shifting tone, is so innocuous it's not worth panning.

Mined for comedy and milked for drama, though what results is diminished by the very framing device contrived to punch it up.

The final image, a minimalist evocation--perhaps a compromise for an unmarketable ending--puts an intriguing spin on everything that's come before it.

May persuade you to identify not with race-car drivers but with race cars.

Too dry to be very funny and too contrived to be outrageous, this movie has a tone so unusual it almost seems to have none at all.

This brash shocker by John Sayles—who wrote, directed, and edited—is bound to annoy as many people as it intrigues.

Writer-director James Toback must believe his audience is hopelessly prudish if he thinks this pedantic story, which takes place over several hours in a Manhattan loft, is provocative.

Labyrinthine yet oversimple, the story seems to hide a more provocative one. But perhaps this is the nature of the beast.

Strives for comprehensive coverage of its theme of forbidden love.

This limp 1998 comedy tries hard to be both irreverent and ethical by suggesting that deceit motivated by self-interest is OK as long as no one gets hurt.

Time-travel cliches, female characters who exert authority only so we'll laugh at the pussy-whipped males, dialogue that's neither self-mocking nor serious, and an ostentatious though not particularly exciting production design keep the movie from taking off.

The filmmakers have created a pretentious extended "Twilight Zone" episode with obscenely high production values.

This concept comedy-drama would be even better if the intercutting among households had been timed to add dramatic content rather than simply advance the subplots.

This desperately all-ages movie just emphasizes its banality by throwing money and effort into effects and production design at the expense of pacing.

The filmmakers show habitual thriller viewers some respect by condensing the background story into iconic sound and image bites during the opening-credits sequence, suggesting they know we get the drill; this and the other stylish elements make it all the more disappointing that the movie's mediocre.