Coogan delivers a winning comic performance as the pompous impresario, but his story has little dramatic momentum of its own; he functions mostly as a pedantic narrator, imposing some cultural significance on the endless party and pointing out more intriguing personalities.

Director Rob Cohen supplies plenty of gore, attitude, loud music, and extreme-sports action -- in particular, a thrilling aerial drop that's followed by a crushing avalanche.

Ultimately just another Dirty Harry opus.

A finely crafted entertainment that works better than most current Hollywood movies.

This is hardly Flaubert, but it is a fairly beguiling look at moral calculation.

The action is so relentless that after a while things start to feel hollow, but Rodriguez still seems to believe the moral articulated at the end of the first film -- that keeping a family together is the real adventure.

In a sense, Caravaggio has less to do with its ostensible subject than with Jarman's own insistence on sensual, and largely homoerotic, expression, though there's a feeling of stifling enclosure to the images Jarman invents, of eros turned inward, toward private fantasy and longing, rather than outward to a world of real possibility.

Catherine Keener is wonderfully weird as a vicious vice president of human relations, and Nicky Katt is brilliant as an actor playing Hitler in a stage play.

Failing to provide any insight into his plight as a rich African-American celebrity, he moves on to the hard stuff.

Almost frantically intercutting between the characters, the movie spends so much energy trying to charm us that when the emotional stakes are raised we're too exhausted to care.

Borrowing heavily from "Close Encounters of the Third Kind," Shyamalan tries to lighten his trademark gloomy tone -- and almost kills the suspense he's working so hard to achieve.

Imagine combining bad imitations of the "Ace Ventura" and "Austin Powers" movies and you'll have a rough idea of this feeble Dana Carvey farce.

Heart-wrenching documentary.

Unfortunately, a conclusion stuffed with so many improbabilities that it left me gaping in disbelief. Prior to that, this is pretty much fun.

If you ever suspected that assholes are running the world, this documentary adapting producer and former actor Robert Evans's autobiography, narrated with relish by Evans himself--the cinematic equivalent of a Vanity Fair article, complete with tuxes and swimming pools--offers all the confirmation you'll ever need.

In the last two decades rock documentaries have become ubiquitous on TV but marginalized as cinema; this is the rare exception that earns its place on the big screen.

It's presented in such a nicely understated manner, and Ambrose turns in such a good lead performance, that it rises several notches above most of today's teen movies.

Writer-director Chris Ver Wiel stocks this diverting crime comedy with familar characters and formulas.

Clever, warmhearted film.

With the jokes coming about one per second, you're bound to find something to laugh at. I found myself laughing a lot--even as I began to feel the whole thing wearing thin.

The film is fairly formulaic, though some of its puns and wisecracks are hilarious, especially those delivered by the Littles' lazy and cynical Persian cat (Nathan Lane).

Perhaps the post-cold-war attitudes behind this film are progressive, but the same old pre-nuclear-war worship of the military goes all but unchallenged.

Both Stanford and Neuwirth are excellent in tricky parts, yet screenwriters Heather McGowan and Niels Mueller abruptly end the story just as the characters are arriving at some uncomfortable showdowns.

A cunning and hilarious update of the giant-insect movies of the 1950s.

Kids used to watching him on TV might find it all perfectly normal, but for adults it's almost an acid trip.

This film by Julio Medem has dreamlike visuals, lush sensuality, a gorgeous cast, and a plot built on elaborate, self-conscious coincidences.

An odd cross between "Mad Max" and "Dragonheart," this movie is all borrowed ideas, but it's still trashy fun.

Results are classy entertainment with little to interest women viewers but very shrewdly and cleverly put together, and probably more rewarding in long-range terms if you invest in Fox or Dreamworks than if you actually see the movie.