Michael Dequina

Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.

While the audience has its laughs along the way, the violent tension of war often threatens to erupt, and slowly, subtly gathering force is the film's emotional weight, which is potently felt by the film's indelible (if not exactly unexpected) concluding image.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

Smart, complex, and engrossing idea-driven action thriller.

Not a good film. In fact, it's a rather bad example of that already barrel-bottom-scraping genre, the teenybopper romantic comedy.

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.

Were it not for the presence of higher-level acting talent, A Rumor of Angels would have been a banal TV movie.

Confirms that despite all the technical tools at their disposal, one thing counts head and shoulders above razzle-dazzle eye candy (or anything else, for that matter): the story and characters, and Monsters, Inc. introduces worthy additions to the Pixar pantheon.

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

May be formulaic but never fails to find other ways to entertain.

A friend called Fred Schepisi's ensemble drama "a crusty old white man's 'Joy Luck Club'" -- an assessment that isn't without some kernel of truth.

Patrick Sheane Duncan's script deftly weaves together the stories of Serling and Walden, and Zwick remarkably sidesteps the trap of sticky sentiment--an idea further carried forth by Ryan's admirably against-type (and shamefully unsung) performance.

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

Strongly infused with an unmistakably exotic Bollywood flair.

Smoothly seductive.

A glacially-paced disease-of-the-week movie blown up to big screen size.

Sublimely silly and genuinely sweet film.

Will warm your heart without making you feel guilty about it.

Love it or hate it for its content, one must concede that it is nothing short of a technical marvel.

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

The film does drag, particularly toward the end as the conclusion becomes increasingly obvious and too slow to arrive. For the most part, though, getting there is a wild and fascinating ride.

More criminal than the lack of inspiration in Return to Never Land is the absence of a sense of magic.

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

August so firmly establishes characters of Martin and Barbara and their relationship, so when the disease does enter the picture, the film does not suddenly become about that; the focus clearly remains on the effect it takes on the people.

Despite the inherently moving story and the respectable work of director John Lee Hancock and the cast, something remains absent throughout the entire film: a certain sense of verve and personality.

Truly Madly Deeply is a truly, madly, deeply romantic film, and Stevenson and Rickman have a natural rapport. What distinguishes the film more than that is the uncommon intelligence with which Minghella approaches this fanciful situation.

Bit of melodramatic grandstanding that it is -- is made irrelevant by Washington's volcanic energy and fierce conviction.

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.