Tom Keogh

Jim Carrey is magnificent as Kaufman.

Puts the Bond film series (this one makes number 19)-- back on track by stressing the fundamentals and applying a bit of authentic drama for a change.

God-awful.

This is vintage Allen, his powers intact after a string of increasingly cranky, creaky films in the last few years.

The story, ultimately, is about the classic conflict between a desire to cherish and protect one's unique gifts from a brutal world and a more practical instinct to compromise beauty.

A film so driven by pure style that a script barely seems necessary in its first half, Boogie Nights becomes bogged down in a predictable aftermath of drug deals, post-stardom decay, cocaine-fueled nuttiness, and self-loathing.

This much-anticipated but terribly underwhelming black comedy represents a seriously squandered opportunity.

The true star of this film, funny and often breathtakingly lovely, Zellweger carries virtually every scene in which she appears -- which aren't nearly as plentiful as one might like.

If you like a little action with your war movies, or maybe some butt-kicking Resistance types and a Mission: Impossible-like finale, you won't be disappointed.

Will eventually be remembered as a disposable farce, but one that leaves a happy memory.

Whether or not Breaking the Waves succeeds as a profound work is something that's hard to say after one viewing, but it is certainly a wholly original piece of work.

It's sporadically funny but often unfunny, the latter worse than not being funny enough.

Dreadful suspense piece that has "Mystery Science Theater" appeal written all over it.

Over the course of two-and-a-half hours, the film not only gets up on wobbly legs but learns to dance by the closing credits.

Custom-made for an audience of mouth-breathers.

Fascinating noir, which will long be remembered for its extraordinary lead performance by Catherine Deneuve.

It's not just bad, it's ugly. Not just stupid but really aesthetically displeasing. The sooner this movie disappears from sight, the better.

Director Gary Winick ("Sweet Nothing") ingeniously complements Draper's layered approach by modulating the film's energy in fascinating ways.

Once at sea, The Perfect Storm collapses in a heap of spectacle and a dubious piling-on of scary incidents.

It's very effective.

It is Foster who presents the biggest single problem, delivering a monochromatic performance that finds her character not much more than flinty and strained.

Could have afforded to be a little loftier and still be quite funny. Instead, it's a waste.

A mixed bag, all in all (casting Huey Lewis was not the best idea), but worth seeing.

Rob Schneider's stab at an "Ace Ventura"-like gamble for stardom.

Streep delivers another of her chameleon-like transformations in appearance, accent, and manner.

While we may like what we see, it's impossible to comprehend what much of it means or why we should care.

The film is simplicity itself.

The extent to which Black and Louiso help make this film terribly witty and caustic and worth every minute of its almost two-hour running time is immeasurable.