At 116 minutes, it's a test not of speed but endurance.

Soggy and predictable screenplay.

The action is exciting, but the rapid-fire narration jumps around too quickly, making it difficult to keep straight the personalities meant to hold the film together.

If the Disney animated original (1961) -- adapted from Dodie Smith's novel -- tried to approximate live action, this 1996 Disney live-action remake often tries to evoke cartoon.

There isn't a lucid moment in it (and much of the dialogue is rendered unintelligible by Russell's subversive direction), but it has dash, style, and good looks, as well as the funniest curtain line since Some Like It Hot.

Vigilant viewers may spend many of the 101 minutes fixating on tiny holes in the plot, but I was busy being moved by the premise and the filmmakers' confidence in the power of their metaphor: a little boy who's disappointed in the man he grew up to be.

Formulaic but fairly well-done.

I kind of liked this slow, stoner comedy.

A pleasure.

The film was praised upon release for its hard-nosed look at big money in politics, though these days it seems positively dainty.

Unafraid to look absurd but lacks the self-conviction needed to come off as camp.

The film preserves many of Ellis's amoral one liners (best delivered by Malkovich and by Richard Dreyfuss as one of the villains), though as in much of his writing, the fun is discolored by a profound cynicism.

Enjoyable but thin.

Juliette Lewis plays the out-of-town girl Depp takes a shine to once he starts getting tired of the married woman (Mary Steenburgen) he's involved with, and while the picture is too absentminded to explain what it is that makes Lewis move in and out of town, she and Depp make a swell couple. There are other rough edges as far as plot is concerned, but I liked this.

The eroticism is powerful, and the documentary candor and directness of the sex scenes make this well worth seeing.

Even though I appreciate this movie's craft, I wish I hadn't seen it. It's a heady, progressive -- or perhaps elaborately conservative? -- romance, but it's also a tale of terrible suffering.

A realist mode that strains credibility; it's tenuous and inflexible -- and easily ruptured by the contrived irony in Jimmy McGovern's screenplay.

The efforts to plant this story in a contemporary vernacular are not always successful but the performances are uniformly fine in their adherence to the material, and consistently avoid any vulgarity or showboating.

Australian mockumentary offers plenty of cheap laughs early on.

Carax has a wonderful cinematic eye and a personal feeling for editing rhythms, and his sense of overripeness and excess virtually defines him.

I don't see this slightly better-than-average drug thriller, with slightly better-than-average direction by Steven Soderbergh, as anything more than a routine rubber-stamping of genre reflexes.

There's little rapport between Duchovny and Driver after their initial meeting. More exciting and suspenseful is the relationship between Driver's confidant (Hunt) and her husband (James Belushi), who can't seem to get all their kids to go to sleep at the same time.

This held me, but I was grateful when it released me.

Ron Howard, an exemplar of honorable mediocrity, reunites with actor Russell Crowe and screenwriter Akiva Goldsman of "A Beautiful Mind" for this epic treatment of a seven-year stretch (1928-'35) in the career of New Jersey boxer James J. Braddock.

As the driven competitor who learns to make hubris work for him, Jared Leto gives a complex performance that suggests a deep, intriguing interior to the character even as he maintains a convincing one-dimensional facade.

William Friedkin's remake of the French thriller Wages of Fear represents an above-average effort by the director of The Exorcist—meaning it's marginally watchable. Friedkin senselessly complicates the simple story—four men drive a truckload of nitro through a South American jungle—with a lengthy exposition and some unfortunate existential overtones. The rhythms are all off—it's either too fast or too slow—but most of the set pieces are effective.

The new jokes all seem like discards from a Rob Schneider comedy, but for the most part director Peter Segal (Anger Management) and screenwriter Sheldon Turner play a good defensive game, sticking close to the original film's story.

As summer shoot-'em-ups go, this is pretty well executed, with plenty of macho posing and gunfire.

The hinted romance, featuring Aaliyah, makes for some decent drama and some fine comedy.

The material is powerful--one boxer has been accused of a crime and the trial conflicts with a crucial competition--but much of it feels predigested, the themes inadvertently one-dimensional.

Very slickly and glibly put together, with a sharp eye for yuppie decor and accoutrements; even Woody's habitual, fanciful vision of an all-white New York is respected.

I guess one out of three ain't bad.

Bartlett and Mevoli give appealing performances, and Bell adds to the authenticity by peppering their radical clique with real-life activists.

If you're looking to be romantically captivated, this movie just might do the job.

It milks the characters' father-son relationship for drama without making the fairly obvious connection to the agency's paternalistic view of the world.

Universal's classic from 1931, directed by Tod Browning. The opening scenes, set in Dracula's castle, are magnificent—grave, stately, and severe. But the film becomes unbearably static once the action moves to England, and much of the morbid sexual tension is dissipated.

As personal and political agendas mix, with deadly results, director Jim Sheridan parallels the moderated violence of boxing with the unchecked violence of terrorism.

Despite the show-offy cast, it took me a while to warm to these people and their self-consciously idyllic settings--as well as to the slick direction of former cinematographer Lajos Koltai--but I was eventually won over.

Ultimately unsuccessful, the film is nevertheless a fascinating first draft for Vertigo.

There are still plenty of laughs and some inventiveness along the way...although some of the gags and contrived plot moves stumble over their own cuteness.

As old-fashioned movie fun, this isn't bad, even -- especially? -- when it skirts the edge of silliness, and it's better than the 1960 George Pal version.

Professionally made, quite entertaining, and disappointingly hollow.

The result is grimly "effective," but it made me long for Hollywood junk.

Despite the practical nature of the costars' bond, I spent most of the lukewarm actioner wondering when the hell they were going to start kissing.

Donzelli, a busy actress in France, directed this drama from a script she wrote with Elkaim, which may explain why the parents become the center of the movie while the ostensibly suffering boy never takes shape as a character.

You won't be too bored.

The movie is about the interactions between these characters, and though I'm still trying to figure out what all the pieces mean, there's no way I can shake off the experience.

Luc Besson--and Andrew Birkin wrote the pandering, adolescent screenplay for this pseudosubversive hagiography, and nearly every scene screams out its sensationalist intent, though few actually achieve the status of spectacle.

Only August's assured direction and the leads' solid performances elevate this above a TV "disease of the week" movie.

The end result is more like a supermarket on Saturday afternoon. The content is engaging, though.

Anthony Peckham's script is formulaic, woodenly reverent, and devoid of real dramatic tension.

This fairly serious meditation on conventionality and monogamy blames his ennui on external forces, remaining adolescent even when it suggests its hero has grown up.

I found it more pleasurable as a time waster than either "Mission: Impossible."

The 1980 sequel to Every Which Way but Loose, and a better film—smoother, more controlled, with more time for the casual elucidation of place and character. Though it's a loud, vulgar, and occasionally brutal comedy, it never succumbs to the fashion for facetiousness: Clint Eastwood always takes his work seriously, even in a relatively impersonal project like this, and there are moments of moving emotional candor amid the slapstick, flashes on loneliness, forgiveness, and loyalty.

Director Jon Chu (Step Up 2 the Streets) ably exploits the 3D format, constantly moving the action forward and upward. The color and music also pop, as do scene stealers Martin and Facundo Lombard, Argentine twins whose comedic talents nearly match their dizzying footwork.

Much of it is awful, but it's almost impossible not to be taken in by the narrative sprawl: like many big, bad movies, Giant is an enveloping experience, with a crazy life and logic of its own.

The material has been bowdlerized to the point of abstraction, which makes Richard Brooks's sweaty, emphatic direction look a little silly—there just isn't that much to get worked up about. But Burl Ives and Judith Anderson are highly entertaining as the nightmare parents, Big Daddy and Big Mama, and Jack Carson has one of his last good roles as Newman's competitive older brother.

The nonstop action in this British romp should ensure that its target audience, sugar-buzzed prepubescent boys, stay strapped in their seats.

Prince's narcissism was easier to take than than that of his contemporaries Sylvester Stallone or Rob Lowe: he didn't regard the rest of the world as an insult to his estimable self.

The plot contrivances that bring them together to torture each other are so deftly handled that I almost bought them, and the two leads are charming and funny enough to offset the characters' obnoxious motives.

At some point in this endless thriller the suspense turns into an extremely unpleasant ordeal that Dahl doesn't know when to stop.

Though I hate to ruin the complex experience of following a rather calm story about a lonely widower as it becomes something else, I feel obliged to point out that the hard-core gore and soft-core surrealism of this baroque morality play may not support any theme.

Writer-director Aiyana Elliott gives her father his due in this evenhanded yet impassioned documentary.

As usual with Stallone's Rocky sequels, the schmaltz is unbearable, but the fight is plausibly handled, and Stallone's sincere sadness at growing older makes this an unexpectedly satisfying conclusion to the series.

Though its ending feels protracted--especially the climactic chase--it kept me reasonably distracted.

Part wish fulfillment and part social moralizing, the film never resolves its point of view, but a few of the apocalyptic images stay in the mind.

It's well mounted and lushly photographed, and Rappeneau deftly orchestrates the crowd scenes as Parisian elites flock to Bordeaux, but the large cast doesn't mesh.

Undeniably well executed.

It's Joan Cusack as her doting single mom who holds the film together--her sensitive turn as a flawed feminist hints at what she could do with a meatier role.

Watt's script is a bit overstuffed, and by the end the roiling animated sequences (drawn by Emma Kelly and inked by Watt and Clare Callinan) are wearing out their welcome. But the convincing characters and hearty examination of mortality make this fresh and oddly uplifting.

Excellent support from Alan Bates, Albert Finney, and Joan Plowright, but Richardson's direction drags more than a bit.

On a mindless exploitation level this is pretty good, but on other levels it seems to make promises that it fails to deliver on; none of the deaths carries any moral weight, and the climactic special-effects free-for-all tends to drown out all other interests.

The late 300-pound transvestite Divine, John Waters’s most enduring muse, makes his/her first star entrance in this 1969 feature—the first Waters movie to play outside Baltimore—driving a 1959 Eldorado to the strains of “The Girl Can’t Help It.”

A rich but regrettably lumpy pastry, with moments of genuine drama redeeming an almost defiantly hokey plot.

Kurt Russell gives a terse, unsentimental performance as coach Herb Brooks, but director Gavin O'Connor sticks to the "Hoosiers" playbook.

For torture and violence freaks, every clank and thud is duly and hyperbolically registered.

The gags are as idiotic as you'd expect, but they consistently hit the bull's-eye.

This realist fairy tale of impossible love has a fair amount of nuance and charm.

An enjoyable though distinctly second-degree comedy by writer-director Andrew Bergman. Full of fun around the edges, it's rather flat and unfelt at the center.

Moderately entertaining popcorn thriller.

A box office phenomenon in France, this crowd-pleasing drama is based on a true story but sticks closely to the template for a Hollywood buddy movie.

This early-1900s costume drama surely differs from Henry James's source novel.

The main novelty of this conventional, slight, but charming youth picture is that it's English and therefore more class-conscious than most American equivalents.

Quinones is ill at ease doing the romantic scenes and reading the hokey dialogue, but the street kids around him play themselves naturally. The pacing is slow—inexcusable in a film about music—except when hip-hop takes over, and Ahearn wisely gives plenty of screen time to the likes of Busy Bee, Rock Steady Crew, and Fab Five Freddy.

The verbal and conceptual gags, however, belong wholly to Martin's own brand of goofiness, and some of them are pretty funny.

Half-funny mockumentary.

This 1939 release is still watchable, though the spirit is now sitcom.

As for remakes, it stands to reason that if you try to redo a work of art without the original artist, you're bound to damage the artistry as well.

Lonergan's validation of big-minded small-town life has been neatened up to the point of blandness.

If Wahlberg in a beret is your idea of fun, don't let me get in your way.

This engrossing animated thriller (2000) somehow displays realist gore, nudity, and sexual violence in a tone not too far from that of a children’s adventure; its innocence stems in part from the convincing naivete of the heroine.

Snippets of the band's brutally percussive music punctuate the endless encounter sessions, which expose the musicians' boundless self-absorption (the 9-11 attacks come and go without so much as a mention) and cowed obedience to their psychological guru.

Crudup takes a riskier path: his architect isn't very nice and is possibly irredeemable. His performance is subtle, complicated, and fresh, and it's a shame the movie doesn't live up to it.

Sheridan gives this a pacing and depth one doesn't often find in "urban" product, though Jackson, reliving his own life traumas, is handily upstaged at every turn by Terrence Howard (Crash) as his oddball manager.

The tension is intriguing and expressive (perhaps this is what Beineix had in mind for The Moon in the Gutter), though the unstable mixture is clearly limited as a sustainable style. 

Agresti has more on his mind than tugging at heartstrings.

Krause is completely believeable as the solid old man, and though the story moves slower than molasses, it leaves the same dark aftertaste.

Remains mired in a smart-alecky film-school sensibility.