Michael Dequina

As it stands Changing Lanes already exceeds expectations, provoking serious thought while skillfully telling a compelling, character-driven story.

Makes one interested in seeing the inevitable sequel, but one is also left to somewhat question the worth of sitting through this first installment.

It's an entirely different animal from Tarkovsky's hypnotic but opaque take, and it's an entirely different animal from most studio product in general -- Soderbergh's Solaris is a gorgeous and deceptively minimalist cinematic tone poem.

Basically more of the same, and depending on who you are, that's either an encouraging statement or a warning.

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

Much like how its employees and patrons don't want to see the barbershop close, once one has become acquainted with these people and this place, one may not want Barbershop to end.

Yes, this "Harry" does indeed fly -- just don't expect the movie to soar into the higher altitudes of imagination.

Well-acted and skillfully made, the film offers enough that is worth seeing, but its idiosyncratic nature is sure to limit its mainstream appeal.

It's performances like these that make it so easy to forget that, when he wants to, Costner can indeed act and be an appealing star.

Less Bond than simply boring, a tedious and overdirected race-against-time drama with a few espionage elements thrown in.

Robinson is more adept at the surrealism than the satire, and when the latter takes hold toward the end, the film falters; however, Grant doesn’t, and the film is worth a look if only for his fearless, funny work.

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

To complain about the lack of originality is to ignore the real wit and joy behind this very fun film.

The film tells an engaging swashbuckler on its own terms, and that's what director Kevin Reynolds has done with this old-fashioned romp of revenge.

All the household changes give the film an episodic quality that leads to a certain start-and-stop dramatic momentum. But fresh face Lohman holds the film together emotionally, more than matching up to the bigger name stars that turn up in supporting roles.

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.

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

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

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

Indeed, a triumph of love: love of performance, love of joy, and, above all else, love of love itself.

While watchable, skews more toward the drier expectations fostered by that publication's name then the more exciting, explosive ones associated with the genre.

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

A passive film, playing it quiet and safe, hoping that the viewer will extend some good will towards it.

Brosnan's best mission as Bond yet, and the most satisfying installment of the franchise in recent memory.

Not that there isn't a story at work here; there indeed is, but only just enough to sustain the action.

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.

Ultimately comes off as so restrained as to be detached and almost as chilly as LaBute's darker films -- not exactly what one would want from a story about a love so strong that it echoes through the ages.

Serendipity leaves one with a pleasant feeling few films generate: that of wanting more.