Ruthe Stein

Lumpy.

The least appealing of the trilogy.

Suffers from Resnais' inability to open it up and give it the look and pulse of a film.

It's hard to get swept away when you're struggling to figure out who's doing what to whom and why.

If you enjoy gross humor -- elevated by an occasional witty line -- and looking at babes, and don't mind a little blood and gore, do I have a date movie for you.

Hanssen is such an enigma that any attempt to explain him has inherent interest. Breach expends too much energy on a minor functionary, but it is still worth seeing for its fleeting looks into a heart of darkness.

Doesn't have much to say.

Lacks what could kindly be called coherence.

A needlessly complicated and confusing thriller.

If you can still be entertained by a thriller that unabashedly borrows from others of its ilk and don't mind reading subtitles, you could do worse than District B13. It's over so fast, in a quick 85 minutes, there's scarcely time to get bored by the silly plot.

The ending is predictable to anybody who's followed the trajectory of outsourcing. Outsourced humanizes those affected by it - even if the story sounds familiar.

I'm not denying that a 40-year- old woman might be self-conscious about going around with someone this young. But the subject isn't interesting or provocative enough to sustain an entire movie.

The movie is one big in-joke. It's watchable, but eventually wears you down with its over-the-top cleverness.

A potentially great movie winds up buried inside a just OK one.

As moving as some parts are, it's muddled by a script that tries to pack in too much. There's sufficient material for a couple of films and a sitcom.

A peculiar little film -- grim and disturbing yet perversely riveting.

Overly long and not especially enlightening film.

Visually, the film is a stunner, dotted with psychedelic colors and many shades of red -- one battle is fought with red laser-gun sights -- some looking realistically like blood. When gangsters open fire, their falls are choreographed like a ballet. The problem comes when the cast opens its mouth and Elizabethan dialogue tumbles out.

Another art film that's more pretentious than it needs to be.

The film version is gorgeous to look at and contains amusing performances from Ralph Fiennes and Cate Blanchett in the title roles. But it fails to get inside the minds of gamblers as Peter Carey so admirably did in his Booker Prize-winning novel.

While the documentary does a credible job of pointing out the magnitude of the problem, it skirts the issue of what can be done about it and by whom.

It says something about this movie that Redford is at his most compelling playing opposite a nag.

The Pillow Book sometimes seems like three different movies, each one an eyeful but together too much of a good thing.

Much about Living Out Loud is pretty far-fetched, but at least it accurately portrays the dating possibilities for newly divorced women of a certain age.

Each time Something New touches on something controversial, it quickly retreats to some silliness.

For all the filmmaker's good intentions, Fast Food Nation isn't a particularly good movie. It doesn't hold together or grip you the way a documentary might have.

Vitus is likable enough and definitely suitable entertainment for young people willing to read subtitles.

Intermittently funny.