Ultimately this is a sharp-focus issue movie, decrying intolerance as it explores the effects of labeling, the complexity of fetishizing, and the differences between business and crime.

Doesn't quite support the weight of its allegory.

Never seems to find its tone.

The animators have re-created equine movement and behavior with uncanny verisimilitude.

A generally effective sex comedy, distinguished by its origins (Brazil) and the considerable appeal of its star, Sonia Braga. (Review of original release)

The characters are so vivid that the suspense never lags. Crowe is best in buttoned-down roles like this one, and he holds the husband's fear and resolve in balance.

If you're fond of Steve Martin and Goldie Hawn's physical talents for comedy even when they have slender material to work with, this occasionally amusing fluff can pass the time.

Hurt's character is so inert and unemotional that some spectators may find it difficult to stay interested in him.

This agreeable French comedy wears its class consciousness on its sleeve but functions primarily as bourgeois light entertainment.

Some may condemn this gruesome, heartless exercise, but I prefer to savor the irony: three years after the Francophobia that accompanied Operation Iraqi Freedom, every bonehead in America will be lining up to see a Frenchman's movie about subhuman hillbillies.

There's something offensive about the movie's chintzy view of death and the way it periodically flirts with promising conceits (i.e., Goldberg offering her body as a surrogate so that Swayze and Moore can "touch" one another) only to back away from them in as cowardly a manner as possible.

As it turns out, what's going on is yet another cinematic rip-off, this time of “The Exorcist.” Apparently rec stands not for record but for recycle

Pederson has no smoking gun that connects Nashi to dirty tricks or violence, but there are plenty of both swirling around Moscow.

On the whole there's not a lot of flesh on these cynically haphazard bones.

Has an adolescent energy and a tempered sexuality.

An ounce of self-awareness about its almost gleeful use of cliches would have improved this dance soap opera.

I was wooed by its sexy romanticism all the way through to the mysterious and beautiful coda.

This is obviously a sincere undertaking, and there's a certain homemade charm to the special effects used in the combat scenes.

Romantic comedy is set mainly in NYC, where the plight of its ambivalent lovers seems particularly trivial.

If you can accept the flouting of logic and credibility that usually goes with this kind of horror picture, this scary and suspenseful genre exercise, chock-full of false alarms and brutal shocks, really delivers.

Writer Kevin Williamson, who's also responsible for the overrated "Scream," sets cleverness above emotional impact in a poorly conceived 1997 thriller with plenty of empty references.

The genuine sense of loss and nicely observed family details don't stand a chance against the generic buildup to the big game.

Favors character development over rude scares, though given the narrow parameters of the genre, it's not really a worthwhile trade.

I'm not sure what it all means, but, as in Ed Wood, Burton's visual flair and affection for the characters make it fun.

Even the revelation of what the fifth element is at the end is disingenuous--in fact, the archness of this whole project is repellent.

Murphy seems either incapable of or uninterested in creating a recognizable world, so local comic effects count for everything.

Likable as she is, Latifah can't overcome a tortured mistaken-identity plot, buffoonery on the ski slopes, and enough saccharine dialogue to induce shock.

Aesthetically, Insidious operates at the level of a decent high school video project.