Ruthe Stein

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

When the movie is viewed with fresh eyes, the most captivating feature is this surreal Vegas -- its neon signs askew, as if reconfigured by Andy Warhol, and its preternaturally glistening streets a siren's call to an ever-new batch of suckers.

Superficially entertaining romantic romp.

The filmmakers have wisely turned it into a comedy, and a wickedly entertaining one at that.

Chock-full of holes.

A richly textured and compelling film.

Doesn't have much to say.

Lemmon and MacLaine are magical together, and MacMurray more than holds his own as the third part of the triangle. He commands the office - and, not incidentally, the big screen - with a sexual energy he would scarcely have a chance to show again.

An energetic young cast, consisting of a mix of professional dancers and actors who do convincing imitations of Arthur Murray graduates, is positively inspired in numbers combining traditional ballroom steps with hip-hop.

For all the precision shooting, Autumn is a colossal misfire, a tedious film noir wannabe. It doesn't even qualify as film gris.

This is a very little film with a very large heart.

This is a movie of excesses that doesn't know when to settle down. It aims to be a slapstick comedy, a romantic comedy and a plain old romance but falls short of each goal.

An amusing melodrama.

Totally original yet filled with familiar human frailties, "Everyone" leaps off the screen to become one of those rare movie-going experiences.

That the film finds its own groove is due largely to the eye of director Ernest Dickerson. Not surprisingly, he began his career as a cinematographer, working on Spike Lee’s early films.

It would require a near-lethal injection of nitrous oxide to induce laughter.

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

A disappointing sequel to the far funnier "Diary of a Mad Black Woman."

Harris' impressive channeling of Ludwig is diluted by the decision of screenwriters Stephen Rivele and Christopher Wilkinson to put the copyist front and center, possibly to distinguish their feature from "Immortal Beloved."

The humor is all over the place, veering from light to dark and from broad to subtle -- as if an "I Love Lucy" episode had been retooled by Woody Allen.

It's a serious subject handled with humor -- not the ha-ha kind, but the hard laughter that comes from recognizing parts of yourself in the Perelmans.

Entertaining in a pulpy kind of way, like the fight films of the 1930s and '40s, and more accessible than most of Mamet's movies.

Fascinating and impressively balanced documentary.

May be too convincing for its own good.

A hauntingly lyrical study of sexual awakening.

The attempt to be clever is transparent.

Extremely bleak but occasionally compelling debut feature.

A clever idea, but it's not quite pulled off.