Lisa Alspector

Their splashy gore is more convincing than this incompetent horror-comedy's attempt to mock bourgeois high school dissoluteness without appearing judgmental.

Even the most shocking elements of the story are made bland by childish overkill.

The story, which is even dumber than it sounds, is told in flashback.

If DiCillo had been going anywhere with this, I'd have gladly followed. But setting up petty ironies and pathetic references to Woody Allen seems to be his only goal.

Steve Martin and Goldie Hawn are too good for this embarrassing remake.

Boring, irksome family movie.

Slow, arty thriller.

It’s a heart-tugging scenario undermined by a striking hypocrisy: obscuring a hot-button issue in casting, some actors with Down's syndrome have minor roles, while Penn plays the lead -- and chews the scenery.

Ritchie may be skilled at generating controlled chaos, but his surprise-a-minute strategy ultimately holds no surprises; Snatch is even more frenetically boring than his 1999 "Lock, Stock and Two Smoking Barrels."

Exploits all the cliches about shrewish women and pussy-whipped men without achieving satire.

Tedious mockumentary.

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

The movie occasionally makes an unexpectereference -- though with more desperation than wit.

The premise of this neither dark nor funny movie--which wants to be both--is that it's somehow ironic when wealthy characters are motivated by greed.

The thin story covering her acquisition of one wave after another while narrowly escaping death time and again is strictly for player one.

Conveys little sense of a connection, as if di Florio had made it mainly because she had access to a celebrity.

The fundamental problems with David Cronenberg's disastrous 1993 adaptation, written by Hwang himself, are twofold: the unsuitability of such a premise for film, where the actors and audience no longer share the same space, and the miscasting of Jeremy Irons as the accountant and John Lone as the diva.

The plot is largely a series of excuses for one-liners expertly delivered by Maguire, making all the hatred, maiming, and killing seem like digressions.

Writer Barry McEvoy and director Barry Levinson might want to brush up on the use of metaphor.

The majesty of the landscape and the sweetness of a plot strand about the horse learning survival skills from a 12-year-old girl might have been more intriguing without the cloying voice-over.

Viewers have almost two hours to become thoroughly disgusted.

The moody images and Michael Nyman's score aren't enough to salvage this banal 1997 science fiction story.

Makes for a tiresome antidrama populated mainly by unambiguously good characters who might as well be invulnerable.

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

The story--written by Brian Helgeland and directed by Richard Donner--was just dumb.

The kind of ugly-duckling role that's long been ironic for her (Bullock).

A kind of idealist fantasy that seems almost hamstrung by its plot.

Smug, uninsightful light drama.