A scene set inside the chicken-pie-making machinery proves that the Rube Goldberg formula is infallible.

The modeling of human figures and the sense of depth are both impressive; the characters themselves are mainly idiotic.

As an action thriller with music by Isaac Hayes it's not bad.

I don't much like movies about junkies...but this is easily the liveliest and most inventive I've seen since "Drugstore Cowboy" (1989).

A lot more imaginative and entertaining than one might have thought possible, a feast for the eye and mind.

Dumont's film is unfinished in the sense that some paintings are.

Some delicately interwoven and unresolved subplots help make the young character's rite of passage wholly, disturbingly compelling.

The material is familiar, the Berkeley locations are strictly boilerplate, and there are times when the characters seem more like high school students than college kids.

Divided into sections bracketed by the arrival of each new DJ and is enlivened by the edgy yet trendy environment.

Lots of men cry lots of tears in this supremely self-indulgent, supremely moving documentary about making a documentary.

Many of the plot points seem belabored because they're introduced in the voice-over, then ploddingly dramatized, then analyzed by the family over meals.

Misguided version of one of the Bard's best comedies.

One gets a pungent look at what makes being a pimp look attractive to some people in certain circumstances.

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

The majesty of the landscape and the sweetness of a plot strand about the horse learning survival skills from a 12-year-old girl might have been more intriguing without the cloying voice-over.

With the devout collaboration of the cast, Williams blurs the boundary between experience and storytelling as if the distinction were not only irrelevant but presumptuous.

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.

Neither good nor terrible.

It's an inspired pairing. Wilson is electric as he seduces Chan into a partnership in this self-consciously crafted western, whose cleverness is only part of what makes it so funny.

It's as slick as anything you might find on the Discovery Channel, and the snippets of 3-D computer animation are too cool for words.

Slick and effective escapism with a touch of poetry (a la "The Sixth Sense") that left me vaguely dissatisfied once the mystery was supposedly resolved.

An experimental feature that keeps shooting off its ideas like an endless row of skyrockets, Kikujiro ultimately conveys this grief with such sustained intensity that it can only leave a scorched path of devastation in its aftermath.

Writer-director Peter Greenaway never uses narrative lightly...references to the act of filmmaking exhaust their impact pretty quickly.

Dispenses so many rubber masks to allow the characters to swap identities that no hero or villain winds up carrying any moral weight at all.

This movie's story must have been computer generated along with its animation.

Gordon is so visually and stylistically inventive and the actors are so skillful that you aren't likely to lose interest.

Allen's movies specialize in contemplating the notion that money can somehow remove vulgarity or produce gentility. Small Time Crooks may conclude quite conventionally that money can't buy you everything, but most of it flirts even more conventionally with the opposite premise.

At a relaxed pace, accompanied by restrained pop music.