Gandolfini's fans expect something quirky whenever he shows up, and they'll get what they've bargained for.

Like the Big E himself. It starts out fast, dangerous, sexy, confident, funny with an edge. It ends up confused, bloated, unable to leave the stage when it should.

Just when the story reaches its idiotic nadir, Neil (Diamond) shows up to save the day with a song and a smile.

The film goes from stylish to ghoulish to foolish.

It's well-shot and well-edited by Hollywood standards, though special effects don't reach the top Hollywood level. The stars have their hearts in their work: Cameron and Johnson don't have great depth but give their all. Currie makes a subtle villain.

Writers Pamela Falk and Michael Ellis aim for the soufflé-style comedy audiences ate up greedily 40 years ago, but the film falls flat.

Why on earth didn't Warner Bros. release this movie in time for Oscar consideration? Sure, it's bleak, depressing, sometimes painful to watch. But it would have been one of the best pictures of the year, and Nicholson (who hasn't done work of this caliber since "The Crossing Guard") might have been on the podium again.

Another whirling crime caper that leaves you shocked and chuckling at the same time.

Better than you might expect, if you didn't expect it to be any good.

He's (Soderbergh) among the few directors working today who makes me wonder what he'll do next - and draws me into the movie house, whatever it may be.

Greenwood, whose range has carried him from the lonely widower of "The Sweet Hereafter" to the creepy husband of "Double Jeopardy," gives a star-making performance.

Remains as flat as the Texas plains.

The middle 90 minutes, which put Hanks alone on an island without voice-over narration or even a musical background, is as risky as anything Hollywood did this year.

Whenever the music subsides and the characters speak the Coens' lines, the film turns back into mush.

A holiday fable that's not destined for immortality but goes down more easily than most of the pap Hollywood tries to feed us every Christmas.

As lame as a three-legged mule.

If it were 10 minutes shorter, it would've been just the right length and almost wholly honest.

Without Gibson, this soufflé would fall pancake-flat.

Why is The Emperor's New Groove Disney's funniest animated movie in years? Because it's the least like a Disney animated movie.

Certainly satisfies our hunger for a light, bright dessert, yet it may leave you hungry for more.

Vertical Limit is like riding a roller coaster for two hours. First it's frighteningly exciting. Then it's mind-numbing

Whatever he (Shyamalan) did, he shouldn't have tried to send the same lightning bolt down to Earth in the same place.

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

Offers high-speed helicopter chases, fireballing explosions, deadly laser guns, futuristic technology gone amok, multiple car crashes, two Arnold Schwarzeneggers for the price of one - almost everything except a plot that makes sense.

It's a mass of interchangeable moving images, none much more significant than the others, linked to a plot looser than a 2-year-old's shoelaces.

Bad actors, bad music and bad plot make it a hellish bummer.

Your reaction will depend on your response to the title character, who's meant to be God or one of God's messengers.

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