Rick Kisonak

Not since the breakthrough days of Jim Carrey, Adam Sandler and the Farrelly brothers have two hours of movie comedy simultaneously felt so wrong but oh so right.

On its own terms, Departures is a thing of rare and remarkable beauty.

The two actors (Hanks/Seymour Hoffman) have terrific chemistry and riff off one another like partners in a veteran comedy team.

Costner sets course for one of the most stirringly choreographed shootouts in movie history.

I find Soderbergh's Solaris an eminently more satisfying experience than Lem's. This is a film as elegantly directed as any by Kubrick, one which is superbly acted and brilliantly scored, as spellbinding a work of cinema as we're likely to see for some time.

Bottom line: the spectacle he was preparing may well have provided Jackson with the appropriate note on which to close his long, controversial career. This, however, I think even die hard fans will concur, isn't it.

Her beauty, independence, and stock portfolio notwithstanding, Chelsea’s tale is a timely, tragic one told with typical Soderbergh finesse, a sly, sleek merger of sex, lies and hi def video.

The movie doesn’t even try to break new ground–it’s shot entirely on location in familiar Ferrell-McKay territory.

The portrait of traditional Indian life Chadha provides manages to mine laughs from characters without resorting to making them laughable.

Elegy's last act is a mournful smorgasbord of bathos in which major and supporting characters alike drop like flies. The body count is practically Shakespearean. The same, regrettably, can't be said for Coixet's touch when it comes to tragedy.

While the picture doesn't rise to the level of instant holiday classic, younger members of the audience are guaranteed to get a Christmas kick out of it. If disappointment awaits, it awaits Ferrell's older fans.

Despite the cast's capable portrayals, it's difficult to connect with or care about any of these characters as, one by one, each stabs another in the back.

On its own terms, the picture is at least as contrived as it is charming and its characters in many cases bear less resemblance to flesh and blood human beings than those in a Farrelly brothers farce.

Identity steams my broccoli big time and not just because its surprise twist is an insult to the intelligence of every audience member.

In other hands with another cast, You Kill Me might easily have proven just another modest production indulging in mob violence and postmodern irony. There certainly is no shortage of those. Dahl’s latest, however, is something more than a modest production. It’s a small wonder.

Not bad for a mainstream suspensefest. Gere's good, Lane, as I said, is amazing in places and Lyne does some of his most assured work in years.

Burgundy and Carell's Brick Tamland, by himself, would be worth the price of admission.

May just be the most quintessential Steven Spielberg movie Steven Spielberg never made.

Gorgeously shot, cleverly directed, smartly scripted and convincingly performed, The Dreamers is itself something of a movie puzzle.

A touching, stirring story even if it has been given the Hollywood treatment.

A competently calibrated feel-good machine. It's as effective as anything on The Lifetime Channel. Which is likely where this project would have wound up were it not for the involvement of Washington.

This is one of those "Crash"-style pictures with interwoven narrative strands. The problem here is that most of the strands wind up little more than loose ends.

Easily the most disappointing movie of the summer, Extract is more significantly the biggest letdown of its esteemed creator’s career.

The picture ranks with the brothers' best mid level output-not as sublime as "Fargo" or "Barton Fink" but infinitely more satisfying than "The Big Lebowski" or "Intolerable Cruelty".

It's such a dumb movie, it's hard to believe it wasn't an SNL sketch first.

The movie crosses the line between offering mindless entertainment and insulting our intelligence.

The only downside to this delectable third course? The regrettable likelihood that Lecter fans will have to make do without dessert.

Proyas creates a futurescape that's snazzy in a “Blade Runner” lite sort of way and one or two of the film's effects are eye poppers.