This tired action comedy is the usual weave of over-the-top violence and cross-cultural shtick.

This is more like "The Sixth Sense" writ large: we are all dead but don't know it.

It's an utter waste of Watts; there's not a trace here of the talent on display in Mulholland Drive, perhaps because the script doesn't bother to give her a character.

The inventive performances -- keep this story interesting in spite of its puritanical framework.

Smart and consistently funny, with sharp performances.

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.

Until the ghost story takes over this is a tense and absorbing war picture.

Actually I quite enjoyed the film -- but how do I get rid of this awful discharge?

Malkovich is severely miscast as a heartless and conniving thug admired by the hero (apparently Charles Grodin was busy), and Hopper, in a paper-thin role, barely registers.

Moore's best film to date is this comic and grimly entertaining reflection on America's gun craziness and why we kill one another.

Entertaining but forgettable action flick.

The conduct of the French intelligentsia under Nazi occupation remains a tender topic, and the 2002 release of Bertrand Tavernier's film about two filmmakers who follow divergent paths through the Vichy years stirred intense controversy.

Director Jay Russell (My Dog Skip) paces everything so slowly, and the story is so devoid of genuine conflict, that this seems to go on for an eternity.

Superlative documentary by Christian Charles delves into the world of stand-up with a seriousness and attention to detail matched only by Phil Berger's book "The Last Laugh."

Alternates between chunks of opaque exposition delivered by cardboard characters and eruptions of colorful and highly imaginative action.

Schizoid romantic comedy -- The first half of the movie is full of broad but capable comedy, but the original film's sexual and class politics are clumsily handled, and the mood turns serious with all the subtlety of a falling guillotine blade.

Director Peter Kosminsky elicits such genuine performances from his talented cast that the film rarely strikes a false note.

I wouldn't have minded even the Hollywood schlock lurking behind the studied weirdness if I'd believed in any of the characters on any level.

The climactic sight gag is lifted from Monicelli's movie like a diamond from a jeweler's window.

It's Tykwer's most assured picture to date, and like much of Kieslowski's best work it qualifies simultaneously as engrossing narrative and philosophical parable.

Though it's aimed at preschoolers, it's tuneful and funny enough to amuse any adult.

The movie's searing conclusion left me numb and overwhelmed.

Frank Whaley and Philip Seymour Hoffman play minor characters so annoying they might as well wear T-shirts reading "Eat My Brain."

Muddled attempt at edgy comedy.

Enjoyable action comedy from the Clint Eastwood mold, though the comic elements are more fun than the action.

Greene delivers a wrenching performance, and like "Smoke Signals," the film ends with a cathartic, triumphant flourish.

The cast--including Julianna Margulies, Olivia Williams, James Coburn, and Anjelica Huston--keeps this pretty watchable, and casting Mick Jagger as director of the escort service was inspired.

Especially interesting are the complex relations among the residents of the ghetto.