Director David Gordon Green steers a clumsy course between crass humor and sudden drama.

For the first time since "Chasing Amy," I realized why people like Ben Affleck.

The dialogue includes double entendres that are rather clever, if you're mentally at the age of 11.

Brosnan has toughened up emotionally for his second outing. He's been teamed with Asian action star Michelle Yeoh as Chinese agent Wai Lin, and he's been given a script that provides more fun than the lethargic "GoldenEye." [19 Dec 1997, p.11E]

Only in the last half-hour do the usual Emmerich absurdities pile up: I laughed outright at the character who, past 65 and diagnosed with a massive brain tumor that will kill him within months, cannot be stopped by a ferocious beating, being stabbed in the neck with a sharp implement, then being crushed against a wall by an SUV moving at a minimum of 30 mph.

Nicholson operates in full-bore demonic mode in Anger Management, eclipsing gentle star Adam Sandler and satisfying everybody who's been waiting for Hollywood's Wild Man to cut loose once more.

The big names in the cast add atmosphere in small doses, especially when Haysbert and Glover combine.

The plot's as thin as a debutante's cigarette case.

I knew blues music can make you feel you're not alone when your woman has gone, and rock your soul when you're on top of the world. But until I saw Black Snake Moan, I didn't know it could also cure nymphomania.

What makes Blade 2 marginally better than "Blade," especially if you thought the first was a hollow spectacle? It has a plot.

By the end, an end that has a little too much melodrama to it, we can only shake our heads in wonder.

Bullock and Reeves have an unusual kind of charisma, one that works best when they're apart. Though the filmmakers sometimes put them in the same frame for visual ease, they mostly occupy different times.

Despite the fun dancing, sidestep Center Stage.

Last Holiday floats along on the broad shoulders of one of our most able dramatic comedians. Without her, it would sag like a punctured souffle.

Lloyd finesses a deft script of brisk, quick strokes by Abi Morgan ("Brick Lane," "Shame") into a terrific entertainment.

A mixed bag with a huge amount of heart.

An unforced, sweet-natured story about people who find small ways to touch others and rediscover the good in themselves.

A frantic, heartless hodgepodge of pieces from James Bond movies, Indiana Jones adventures, "Star Wars" and half a dozen legends.

These pros lift this button-pushing blob of faux folksiness to a higher plane than it deserves.

Thirty minutes into Be Kind Rewind, you may wonder what you're doing in the theater. Sixty minutes into it, if you have stayed, you will know.

300 is a huge step forward in visually sophisticated storytelling.

(The filmmaker) never does achieve the breakthrough with her father that she and we hoped for.

It's a fable that descends rapidly into nonsense.

Forget the bug-eating, cow-spearing and one-upsmanship of TV's "Survivor." The real results of isolation and deprivation unfold in The King is Alive: madness, suicide and murder.

When we have to spend time with Beast and Angel and Nightcrawler and Cyclops and Psylocke and Mystique (Jennifer Lawrence, still strong), the movie too often becomes a parade of cameos. Apocalypse has no personality, merely the malevolence of a megalomaniac.

If you’re worried that the re-teaming of Clooney and Cate Blanchett in a World War II movie signals something like “The Good German,” fear not: She’s better here, playing a French art historian who worries the Americans will “rescue” the art in order to steal it for their own country.

Brooks gives himself the last word, appearing onscreen for the first time amid chorus girls oozing PG-13 pulchritude. "Go home!" he says. "It's over!" Could he be referring to his career?

The two stars of Nacho Libre, Jack Black and Jack Black's hair, take different paths.