Robert Horton

Takes an easy target and turns it into something naggingly weird.

A gyno-phobic fantasy about the date who won't go away.

The plot is convoluted.

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.

A piece of fluff that can be enjoyed without guilt.

The Taste of Others takes regular (but not ordinary) people and knocks them out of their usual zones of activity. The resulting collisions leave behind a very pleasing flavor.

While this movie is no great advance in cinema comedy, it is rewardingly silly.

There is something especially irritating about whimsy done badly.

Slouches in as a weightless, instantly forgettable picture.

Something rare: a mess of a movie that is somehow infectious, and infectious not despite the mess, but because of it.

The result is fantasy that wafts away.

Has its dull spots, and is unintentionally laugh-out-loud funny at times -- but isn't that what we expect?

Primary Colors is by turns hugely entertaining and resoundingly square, beginning as a raucous black comedy about political mechanics and ending as a sober-sided morality tale.

Moss -- in her first big role since "The Matrix" -- is the main reason to see Red Planet, a badly written and visually scenic space opus.

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

Does have its share of bona fide chuckles, but it falls shy of its possibilities.

(Tyler's) voice is still mall American, and Onegin's rejection of her is nowhere near as puzzling or as tragic as it's supposed to be.

This is basically a movie about one neurotic woman and her neurotic L.A. life. .

It does... apply Kitano's black-comic style to a different setting, and individual scenes sparkle with unexpected jokes, twists, and occasional cruelties.

It's a notch above average, but Whatever It Takes can't get too far above that notch.

Terrific idea, brilliantly worked out on a technical level.

This overdone project dissipates its energy in strange ways (sudden shifts to black-and-white, as though hailing the spirit of Oliver Stone and that other Costner JFK movie), and makes you wish its makers had shown the same restraint the government did during the crisis.

The film looks horrendous, poorly composed and staged, and the rhythm staggers.

Little entertainment value.

Good enough in spots to make you wish it could have sustained its campier inclinations.

Never less than dazzling to look at, and the scorching humor keeps it alive from scene to scene.

The problem is that the motion picture around these individual stunts is patently a committee-made artifact.

Sometimes feels like an acting class gone berserk, with Penn indulging his high-powered cast