It's an interesting film but not enthralling, a little like Steven Soderbergh's "Bubble" minus the element of crime.

Erkel's folk-flavored music sounds a lot like middle-period Verdi, but many of the melodies are ravishing.

The director (Hallstrom) and cast are all excellent.

It's as entertaining and informative as anything Mann's ever done, and as good an example of grass humor as you're likely to find anywhere.

The music quickly becomes monotonous, and the operatic dialogue is silly right from the start—but Carl Anderson as Judas and Joshua Mostel as an unbelievably campy King Herod almost make this 1973 film worth sitting through.

Ben Stiller produced, and the movie is so reminiscent of "Zoolander" that I wish he had rounded up Owen Wilson and starred in it himself. Farrell and Heder are pretty funny, but they're consistently upstaged by supporting players William Fichtner, Will Arnett, and Amy Poehler.

First-time director Mona Achache mixes feel-good platitudes with quirky conceits (including animated interludes and narration by an 11-year old girl) to put across some hoary old notions about bourgeois neuroticism and hypocrisy.

Director Tarsem (The Cell) reworks the 1981 Bulgarian film "Yo Ho Ho" for this stylish fantasy.

This manages to make the real seem generic, rather than the other way around.

Beneath the surface lies a carefully considered argument about the irrelevance of organized religion in modern society. Though skeptical, the film isn't at all mean-spirited: Moretti takes such pleasure in living that the impulse to consecrate it seems absurd.

Less pretentious than Platoon and more attentive to the Vietnamese than The Deer Hunter, this picture proposes with a great deal of skill and sincerity that we honor and respect the men who suffered on our behalf without even beginning to consider why they did so, or to what effect.

Watching this is like watching kids play with Hot Wheels--not a bad time at all, but I wouldn't pay ten bucks for it.

A knockout thriller that succeeds brilliantly at just about everything Scorsese's Cape Fear didn't.

There's something stirring and gutsy about this evocation of collective ferment -- not to mention timely, in the wake of the Seattle uprising against the World Trade Organization.

This isn't a visionary western like "The Three Burials of Melquiades Estrada" (2005), but in its own quiet way it delivers the goods.

Watching these endangered species evolve new approaches to hunting and shelter is fascinating, but the movie is seriously marred by a cloying screenplay and such kid-pleasing touches as shots of walruses belching and farting.

Fans of the famed porn star, who died of AIDS in 1988, will want to catch this exhaustive 1998 video biography.

Exciting mainly because anything can happen and does, the movie drags a bit as it approaches a climax set atop the Statue of Liberty.

Under his (Fry’s) direction this 2003 British feature becomes a flat, depressing affair.

The movie's sexual politics couldn't be more regressive--Crudup learns to be a man in the sack as well as on the boards--but it's still a competent middlebrow costume drama.

Vince Vaughn and Owen Wilson are enormously funny in this farce.

Volatile and sometimes daring performances by Catherine Deneuve, Gerard Depardieu, Gilbert Melki, Malik Zidi, and Lubna Azabal (as twins) contribute to the highly charged and novelistic experience.

Action-adventure pictures have a lamentable tendency toward mindlessness, but Edward Zwick's epic story has numerous virtues apart from suspense and spectacle.

Luckily LaGravenese has incorporated some of the real students' piercingly honest diary entries and rounded up an engaging cast of unknowns and young actors (April Hernandez, Kristin Herrera, Hunter Parrish) to channel their anger and hopelessness.

Michael Keaton is a stitch as an emasculated police captain moonlighting as a retail store manager.

Genuinely frightening...it's nice for a change to see some of the virtues of old-fashioned horror films—moody dream sequences, unsettling poetic images, and passages that suggest more than they show—rather than the usual splatter shocks and special effects (far from absent, but employed with relative economy).

At times a bit too precious, especially inside the young navigator's spacecraft, but the warm regard for character, as well as for our often-inhospitable planetary home, makes for a reasonably good time.