Michael Dequina

Berry delivers an extraordinary performance that will startle even her most faithful fans.

Given how much Yellen does right, it's all the more shameful that she so spectacularly sinks her film in the foot with one hugely questionable "creative" decision: adding a pair of ghosts into the mix.

The film is filled with extraordinary characters and equally extraordinary circumstances that Hollywood could craft no better in any feature script.

Forces a self-examination that is both traumantic and revealing.

The drawing card for Blade II is -- the promise of a blood-soaked action/horror thrill ride, and Snipes and Del Toro get the down-and-dirty job done with style.

A two-time Oscar winner playing a crazy person in a big studio film released in late October. Can't you just smell the pretension? Probably not, given the other ways in which this film stinks.

While never sacrificing any of the hard-knock authenticity and specificity of his characters and their milieu, Brewer has crafted a deeply felt film.

With nothing in the way of inspiration coming on either the writing or directing end, it's up to the actors to maintain audience interest and emotional engagement, and two members of the cast rise to the occasion: Kline and Christensen.

Director Stephen Herek certainly doesn't come up with anything, and he fails to make the swings between silliness and schmaltz smoothly.

Just about the truest and most satisfying screen adaptation most anyone could have ever hoped for.

There's no doubt that sheer mechanism propels Happenstance, but the numerous characters and storylines flow and converge in a gracefully unpredictable and witty manner.

Predictable and tiresome.

As palpable as the atmosphere is, had the film boasted a clearer, more memorable story and performances that were a step above adequate, the creepiness wouldn't have simply lingered with the viewer, it would have gotten under their skin.

It's throwback, formula Ah-nuld all the way, a straightforward and simple revenge thriller.

The energy of the performances and John Kander and Fred Ebb's enduring score push the musical scenes and the entire film over any hurdle--yes, even including that misbegotten casting of Gere.

Falls apart with the slightest nudge -- of thought, that is.

Doesn't necessarily make Murder by Numbers an awful film; it's certainly watchable, but it never escapes its paint-by-numbers design.

Luckily, the genuinely funny jokes far outnumber the duds in the film itself, which is helped by the generally energetic performances by Broken Lizard and their co-stars.

The radiant Blanchett makes Charlotte's individual journey from lovelorn lady to independent woman believable and involving, and that's ultimately what counts the most -- even if the destination is less than ideal.

May not exactly be an innovative film, but it most certainly is a lovable one.

It certainly didn't take long for Madonna to ruin husband Guy Ritchie's career.

Soderbergh's film will be remembered less for the (inspired) star casting than for being one expertly made piece of pure, unpretentious popcorn entertainment.

But damn it if the film doesn't work as what it's supposed to be: a big, brainless blast o' boom at the box office.

Chalk up another big-name star vehicle that fails to live up to a wealth of potential.

An emotionally honest film, but it would have been far more affecting if it felt more true to life.

No less than four screenwriters are credited, yet the script is filled with the usual clichés (hello, red digital readout!) and supposed twists that can be seen a mile away.

What ultimately comes through is an undeniably imaginative work that is a glorious testament to the limitless and largely untapped possibilities of cinema.

Beautiful moments of performance such as Forster's subtly spellbinding monologues -- make for compelling cinema.