At the very least, Hoodlum might have been better off had it been filmed in monochromatic black-and-white instead of the garish color palette (and plenty of gore) that Duke opted for because they, unfortunately, only reinforce the hamminess of the picture.

As a vehicle for Moore's acting abilities (and Mortensen's, for that matter), G.I. Jane is terrific. But as the end-of-summer blockbuster it's doubtless intended to be, it's pretty much a washout.

For all its Del Toro touches (Goodwin as a young autistic boy kidnapped by the bugs), Mimic is a surprisingly hollow thriller.

For a film with such volatile subject matter, the performances are subdued and naturalistic. Fire burns with a rare flame.

Casting is everything, and the casting of Stallone -- playing way against type -- as the powerless hayseed sheriff in Cop Land is nothing short of inspired.

From its marketing-impaired title on down, Event Horizon is a steadily churning debacle that promises much more than it can deliver and ends up drowning in a crimson sea of gore and maddeningly out-of-place steals from other, better genre shockers.

On a more basic level, I simply found it so hard to penetrate the two main characters' cauterized psyches that, in the end, I hardly gave a damn what happened to them.

Steel's target audience of 12-year-old boys would be better off staying home and busying themselves at traditional, character-enriching activities: sniping at family pets with BB guns, playing Nintendo, and masturbating.

Feel-good comedy with none of the pejorative hints of innocuous blandness that term so often implies.

Taking its cue from the notion that American society is obsessed with covert political intrigues and machinations, Conspiracy Theory is an interesting but flawed thriller in which the wildly paranoiac is something really real.

An abundance of feeling plays across the faces of his two leads; Cartlidge and Steadman bring to light every flicker of awkwardness, indecision, anger, regret, joy, admiration, and affection felt by Hannah and Annie.

As disturbing as it is well-made, this low-budget indie is a thoroughly original piece of work.

The result is a vacuous feel-good movie that leaves you feeling nothing at all.

It's all one big blur: sound, fury, and Martin Sheen devouring scenery as if it were going out of style (and in Spawn, it's definitely not).

187 (the title refers to copspeak for a homicide) circles round and round, never making a salient point that isn't countered by another, utterly opposite notion three scenes later.

Peterson's film is a huge, loud beast of a film, filled with gunfire, explosions, and not a few tears. It's all grounded, however, in Ford's gritted-teeth performance as President Marshall.

Good Burger is not fully cooked but it provides a taste of things to come.

Occasionally, the unevenness of the performances in Star Maps becomes distracting and the dastardliness of the characters' dysfunction impinges the bounds of dramatic believability, yet you will be hard-pressed to find another directorial debut this year that equals the narrative and structural audacity of Star Maps.

Assuming that rich human insight, great production values, and topnotch acting still count for something, Mrs. Brown should have no trouble finding an appreciative audience.

The film's biggest shortcoming is that its caricatured strokes aren't broad enough; it lacks the slam-bang energy of the comically grotesque.

So silly, so garishly over-the-top, and so bracingly eager to please, that it's hard not to fall under its gleefully gooney spell.

Little effort is made to churn up romantic chemistry between Foster and McConaughey. For better or worse, director Robert Zemeckis sticks to Sagan's original vision for these characters, in which they're basically totems embodying both sides of a philosophical dialectic.

Like the inky void of space, there's really not much here, but what there is, is certainly entertaining.

This one misses the boat by several nautical miles.

Face/Off works like a charm right on down the line thanks to brilliant, exhilarating performances from Cage and Travolta, and the many tremendously enjoyable action set-pieces that are Woo's hallmark.

The cast is nothing short of sensational (especially Woods, who gives us the most memorable and oddly likeable villain since Cruella DeVil) and the animators wisely imbue their drawings with the actors' attributes -- right down to Hermes' (Shaffer's) shades. All the cast members seem to relish their roles and their zest is infectious.

It does effectively recall those bygone days when impossibly attractive, charming, and endearingly flawed characters dressed to kill, smoked like creosote plants, and behaved atrociously on the way to rapturous romantic consummation.

Batman & Robin fails to engage the spirit of Batman, Robin, or decent marketing in general, and instead ends up as a limp, excruciatingly shallow knockoff that leaves viewers cringing at the unavoidable one-liners that make up the better part of the script.