Michael Sragow

Brand's script is a puzzle without a satisfying solution. Even at its supposedly heartfelt conclusion, it's more ironic than emotional, more of an art thing than a suspense movie.

The good news is that Schwarzenegger is more entertaining than ever as the Terminator T-101 cyborg.

This movie is as wrenching as it is eruptive. Hitchcock never went further beyond pop than he did with Sabotage.

Darger made art as if the lives of his subjects depended on it. That's how Yu has made her movie.

Fellowes sets the screen for a tale of subterfuge in the upper crust, a la Agatha Christie.

Poses as the story of a wild, eccentric love match but is really about a match made in limbo.

It flows like fast-moving lava to a climax filled with pyrotechnics. And for once in a summer blockbuster, the fireworks are both emotional and physical. The movie leaves you sated, yet wanting more -- just what you want from a series with two entries left to go.

A madcap milestone. Not since Disney's 75-minute Alice In Wonderland (1951) has an animator filled the screen with dazzling flights of random invention that manage to hook up into a swift, brief narrative.

The most appealing aspect of the movie is that the guys and gal at the center of it don't just love the Star Wars saga for its own sake. They love the way they feel about each other when they're escaping into its universe and sharing all the wonder and the trivia.

Since that gifted, attractive performer is Hayden Panettiere, who has already won a wide following for "Heroes," it's a wonder that the studio hasn't been more heavily promoting her appearance in this decent, genial youth comedy. After all, she does play, ah, Beth Cooper.

The compositions evoke a kind of open-air claustrophobia, whether in overhead shots that pin the characters in the landscape or in tableaux of men, women, and children staving off the chaos of the wide-open spaces with their weary fences and weathered towns.

The whole thing turns into trash with flash.

It's still the Holy Grail of crazy comedy.

Director Gillian Armstrong drains all the emotional energy out of the people who dot her movie's lovely landscape.

By the end, Pootie Tang feels as long as Kevin Costner's "Wyatt Earp."

Few films even try to render the full range of emotions and sensations in female sexuality as the aptly titled Lady Chatterley, directed and co-written by a Frenchwoman, Pascale Ferran.

Shyamalan has said he wanted to create the best B-movie ever made, but it fails to be the best C movie of the month. (Stuck or Zohan are better C movies.)

The result is an exciting, infuriating, combative experience.

As sweet and hopeless and silly as a doting dad framing his second-grader's latest finger-painting and calling it a Matisse.

Too bad you can see this sort of thing done more amusingly every week on ABC-TV and Comedy Central.

Some of the movie's sunniest moments arrive as Chappelle ambles through Ohio. He's an observational comic with a drawling syntax that's almost as sly as Mark Twain's.

The most refreshing thing about Man of the Year is its mingling of comedy and suspense with common decency. Levinson asks his countrymen not just to know their limits, but also to reach them.

The whole movie swings broadly from slapstick and mock suspense to song. But the film develops a strong amorous undertow; Kelly's script neatly allows for all the potential couples to get the fate or comeuppance they deserve.

Luhrmann steals good ideas, fair ideas and terrible ideas - anything that once moved him when he was a little boy. He's turned Australia into a more-than-you-can-eat buffet of colorful kitsch.

Watching The Gospel of John is like listening to a religious audiotape while working a picture flip-book of the Bible.

If the movie has a flaw, it's that the working out of Vincent's psychology is too perfect.

You won't believe the story director George Clooney and his goofball TV host are trying to sell. Really.

Pearce makes you see why Edie found Warhol as irresistible as he found her. His otherworldly eyes focus on both who she is and what she represents. He sees her as a star.