Robert Horton

As executive producer of the film, he (Freeman) clearly sees something in Alex Cross, a man much more interesting than the cheesy plot surrounding him.

There is a point in the movie when this mayhem crosses the line from wildly imaginative to downright insufferable.

When the writing is good, Go is good, and when the writing is flat, things fall apart.

For a good 40 minutes or so in the middle of this movie, De Palma is in his element.

There's no way out of the excruciating melodrama, and the film withers in its trap.

Beginnings don't come much more lurid than this, and the rest of End of Days never quite reaches this level of flat-out wildness again.

A generally dumb movie with a smart, appealing, gutsy leading lady.

This lightweight concoction can't justify a trip out to the multiplex, unless you're a girl between the ages of 12 and 17, but it does provide a launching pad for a group of attractive people.

A truly stunning technical experiment.

This director's (Winterbottom) reach is impressive, but this time it doesn't quite grasp.

Spacey and company deserve better.

Eventually fizzles out badly.

A pleasant surprise that The Crew offers up the charms it does.

The story of Groove... provides an ingratiating road map to a cultural phenomenon. Just make sure you drink lots of water while you're there.

The result is fantasy that wafts away.

Sometimes star power alone can keep you from walking out of a movie, and this is one of those times.

This mild but amusing comedy wasn't written by Levinson, and the accents may be different, but the feel is similar.

There's very little here that rises above the level of a competent straight-to-video picture, except that whenever Paul Newman and Linda Fiorentino are onscreen together they create something special.

It all coalesces in a TV-level pleasantness, which isn't quite enough to fill a big screen.

A Mexican film that reaches for a very weird and risky tone, and, I think, fails.

These film-making provocateurs are divided between sweet and sour, between the romance of classic screwball comedy and Mad magazine on acid.

Enough pep in this picture to make it rise above teen-movie expectations.

Does a lot of little stuff right, and it sparkles at times.

Not a crowd-pleasing, or even audience-oriented, movie; it's a two-hour-plus mood piece.

Destined to be remembered not for its laugh-per-minute ratio, but for breaking a barrier of crudeness in mainstream movies.

It may be possible that people who never go to the movies will stumble across Blow Dry and find it a charming way to spend an hour and a half, but the rest of us will have the ending written in our heads by the end of the first five minutes.

Until it backs itself into a narrative corner, Lisa Krueger's Committed is a delightfully unpredictable experience.

What keeps Stardom watchable is Arcand's droll humor.