After spending time with Moretti during the course of this movie, one discovers that he makes an interesting and entertaining companion.

The trailer for the film is more gripping than the feature itself.

The strangest biographical film ever made is also one of the most charming, melancholy and quirkily humorous films of the year.

It's dumb, to be sure, but then again, so were most of the old movie cliffhangers, from which Timecop is obviously derived.

Tolkin's characters are annoying, yet there is something appealing in their misguided and consumer-driven search for the higher meaning. Tolkin's script may not measure up to the fast-paced verbal sparring of The Player but Judy Davis' performance is, as always, mesmerizing and hilarious.

Although the stellar contributions to this supremely intelligent film are many, there's no mistake that the presence of director Redford dominates the film.

There's really nothing new here (as if anyone expected there would be), but it's a decent enough entry into the Karate Kid series, if you don't mind having seen it all done before, and better.

All of it plays a bit phony. Perhaps something was lost in the transition from book to film. The movie was adapted by novelist William Boyd himself, but it feels like it's missing something, maybe a narrative voice that gave all the coincidence and silliness some sense.

What Happened Was … dissects the interminable hopefulness of dating. Noonan, who also wrote the script, has an ear for believable dialogue, and Sillas (Simple Men, Risk) allows every conceivable emotion to ripple across her face, which is a landscape unto itself.

It takes a bit to get going, but once it does, Fresh never lets up.

At times poignant, joyful, and terrifying, Shawshank Redemption is an altogether brilliant movie and the debut of an equally brilliant director.

Quentin Tarantino sans the witty dialogue.

Berserk from the outset, Natural Born Killers lunges for our collective viscera in its opening sequence (surely one of the most brilliant establishing sequences of all time) and never lets go for the next two hours.

Color of Night is yet another in a string of vapid, low-tension headaches passing for suspense thrillers (Fatal Attraction, Jennifer 8, Single White Female) that tries to go everywhere and, instead, goes nowhere. At all.

Where drag is concerned, though, the film does anything but drag; Elliott has no compunction about restraint, and Priscilla gushes with bitchy repartee, campy comedy, sappy Seventies pop (Abba! “Billy, Don't Be a Hero”! “Take a Letter, Maria”!), and production numbers so outrageous, they make the Divine Miss M's excess look like the efforts of a Baptist boys' camp.

Lehmann has dropped the ball -- or the pick, whichever the case may be -- again. Instead of playing up the inherently silly, goofy nature of heavy metal, he sinks to its level, offering nothing more than the occasional chuckle and some ratty old combat boots.

Adults can enjoy the way these youngsters spout grown-up chatter and all ages can delight in the old-fashioned slapstick. I won't claim this film's great, but it is fun, and remarkably innocent and playful.

There is enough intrigue to keep it interesting, and if it ever feels too slow, try counting the number of people who get betrayed.

With great subtlety and knowing humor, Eat Drink Man Woman emerges as one of those unforeseen treats.

Carrey has yet to find the perfect vehicle for himself, but The Mask, while hardly as fantastic as it should have been, is a step in the right direction.

Barcelona does have brief flashes of brilliance.... For the most part, however, Barcelona offers nothing much interesting beyond some beautiful scenery and generally annoying characters.

Sure, Rosie Perez's greedy Muriel is a cartoon and her voice, always at full drill-bit whine, is wearing, but the warmth and graciousness apparent in every frame keep this movie touching and sweet. Give yourself over to this giving film and see what happens.

Young kids will likely enjoy watching all the hubbub the gutsy protagonist stirs up and identify with his plight, but most anyone over the age of 14 will find the film alternately too cute for its own good and too blind to quit while it's ahead.

This movie is much like its brethren: pretty, with strong leads -- the most fun is watching Sarandon match her heavy-lidded orbs against Jones' demon stare -- great supporting work (especially from the sorrowful Parker and the regal Davis), and a tense chase or two from director Schumacher.

The catch is, once you get past the stunning special effects and the mind-numbing stuntwork, there's not all that much there.

The movie's tone concurrently embraces melodramatics and wry humor, a twisted suburban Oedipal knot seen through a sardonic, yet deeply involved, eye.

So syrupy-sweet in its depictions of the game, angels, orphans, children's wishes, and estranged parents, that it may be all you can do to keep from taking a Louisville Slugger to the projectionist.

A remarkable balance of sentimentality and harshness, darkness and light.