Russell Smith

Breakdown further illustrates the axiom that every truly original movie must be remade again and again until it achieves a state of sublime, all-encompassing idiocy.

It's hard to imagine anyone ---coming away from Hanging Up with any sense of revelation, soul-enlargement, or even the simple pleasure of a compelling tale well told.

If you enjoy an occasional taste of mental junk food, you might find Las Vegas Vacation worthy of a springtime dollar-cinema visit. Otherwise, hold out another decade for sexagenarian Chevy in Palm Springs Vacation.

Fonda brings all of his childhood frustration and angst to the screen in one of the year's most unexpectedly brilliant acting performances.

It's far from unenjoyable, but the dank shroud of the overfamiliar lies heavy over all, kind of like watching an Elvis concert circa 1976.

With this artlessly profound and affecting story of love, von Trier emerges as one of those blessed filmmakers who've managed to blend their early stylistic flamboyance with enough human empathy to make their work both visually and emotionally compelling.

Highly recommended for graduate psychology students in aberrant sexuality, but others can probably skip sans regret.

Just the thing to clear your Capra-glutted holiday movie palate.

This remake of Fred Zinnemann's well-regarded Day of the Jackal (1973) not only fails to match the modest entertainment value of Frederick Forsyth's workmanlike source novel, but actually moves into late contention for the title of 1997's most tedious movie.

There's an undeniable energy, originality and -- most hearteningly -- optimism here that makes Beefcake well worth your time, shortcomings and all.

Perhaps the most vexing flaws in this movie are its irresolute plot structure and tone.

It delivers commendable entertainment value.

Buena Vista Social Club is obviously intended less as a concert film than as a set of cinematic liner notes about the vanishing musical culture.

Proof positive that heavy underground buzz doesn't necessarily imply merit or even intrinsic interest.

Director Francis Ford Coppola, who established his towering reputation with an adaptation of another pulpy pop novel, hasn't exactly uncorked another The Godfather here.

This is one of those rare cop/action movies driven by character, not spectacle. Murphy helps the cause with the most focused, persuasive acting of his career. As a young phenom, he got by on charisma, which he promptly commodified and cheapened with Hollywood’s enthusiastic collusion. Now there’s a calm, unfakeable assurance behind his eyes that only comes with life experience. It’s something he can and should build on.

Wall to wall blood 'n' guts laced with surprisingly keen social satire, much of it targeting the fatuousness of media culture.

Plenty of gore-slinging, wisecracking fun to be had, and yes, the repulsively convincing werewolf transformations and attacks still pack a breath-stopping wallop.

Commands respect as mainstream filmmaking with more of an agenda than just pimping cinematic junk food to the brain-dead masses.

My advice: Go; see; laugh yourself silly.

Despite the florid trailers' emphasis on bodice-ripping romantic imagery, Elizabeth is above all a political thriller.

If you feel hostile toward art that not only confuses you but then also suggests that your confusion is precisely the point, you'll probably want to pass on Sonatine. But if disciplined, minimalist storytelling, formal innovation, and contemplation of mystery for its own sake appeals to you, a real feast awaits you in the films of Takeshi Kitano.

From the fan's perspective this is sheer bliss, the next best thing to pouring a couple of glasses of grappa and sitting down with a bona fide film immortal (and world-class raconteur) for a long, intimate conversation.

Annaud (The Lover, The Name of the Rose, Quest for Fire) may be, with all due respect to Stanley Kubrick, the most talented adapter of literary source material in recent film history. Seven Years confirms his mastery by doling out a perfect ratio of moving interpersonal drama and visual enchantment.

One of the truest-seeming movies I've seen in some time and as one of the most odd and haunting.

The script, partly written by an uncredited Terry George ("Some Mother's Son," "In the Name of the Father") strains mightily for insight but never quite breaks through.