Lisa Alspector

With a distinctively middle-aged zest, Carpenter retools even the hopeless cliche requiring action heroes to spout bad puns while dispatching bad guys; his eminently stylish movie proves that new blood can flow from an old vein.

Dead-on imitations of some of the characters from the television series created by Bob Mosher and Joe Connelly will seem pointlessly stylized to viewers unfamiliar with the old sitcom.

The humor is often predictable--minor characters are stereotyped only to be demeaned for easy laughs--but the movie impressively fulfills its larger purpose of making you look at your culture's conventions as such.

Sandler is disarming and compelling as Sonny.

Despite the practical nature of the costars' bond, I spent most of the lukewarm actioner wondering when the hell they were going to start kissing.

This Farrelly brothers "hommage" replicates the mechanics of their work without echoing its spirit or complex tone, and many of the deliberate offenses fail to transcend mere exploitation.

The lawyer is marvelously played by Evelina Fernandez, who wrote the screenplay based on her play.

For all the high-tech allusions and middle-tech illusions, the movie--the 23rd in an immortal series--draws its power from its grittiness and unresolved allegory.

Though passionate, doesn't pity or flatter the rank and file.

The received notion that kids want their movies fast and furious is barely in evidence in this 1997 comedy, a laboriously slow suburban adventure.

Geek-triumphs-after-all comedies can be charming, but in this one the triumphing begins so early it's hard to feel for the geek.

This gently satirical farce is atmospheric when dabbling in religion--the chef turns to spiritual magic to defuse her passion for her husband--and moving during her heart-to-hearts with her friend.

The buildup to social criticism in what at first appears to be pointless and partly misogynist exploitation is subtly impressive.

In this inept thriller...the script is a coloring book, and the director's careful to stay within the lines.

Pales in comparison to the controversial "Life Is Beautiful"--a more provocative fiction, if only because it's even less realist.

In nearly every scene of her dangerously underwritten role, Diaz has a mouthful of cliches.

Demands to be treated with conviction as parody if not as science fiction.

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.

Chillingly beautiful cinematography makes the state's landscapes appear timeless as it sets the stage for a grim history told with archival portraits.

The writers must have racked their brains for the formula: two parts other movies to one part childhood revenge fantasies

The scenes set on earth--messy, predictable satire about the commercial exploitation of fevered genius. The unconscious/underworld scenes may be boring because neosurrealism is a cliche.

It may not be “The Bridges of Madison County,” but the latest Kevin Costner romance is nearly as good as they get.

Michael Tolkin and Bruce Joel Rubin's straightforward script and Mimi Leder's toneless direction make this attempt so boring that the titles counting down the months, weeks, and finally hours to impact are best used to gauge how soon the movie will be over.

This friendly, briefly exciting story (1998), inspired by John Irving's A Prayer for Owen Meany, achieves a nice balance between caricature and nuanced characterization and even manages not to be cloying.

Danny Glover and Mel Gibson make a gently contrasted (and nicely self-reflexive) odd couple in this action-comedy sequel.

This comedy-thriller that has no particular motive for changing tones.

Disturbing--if less sophisticated than the best SF (science fiction)-horror TV.

Two generic ideas amount to nothing in this theatrical dark comedy about violence and information overload.