Vacuous filmmaking of a very familiar kind.

A narrative that tries to juggle thriller elements, tons of pop culture imagery, and way too much philosophical baggage.

Slower, more earnest, and not as gory.

A series of stunts with bears and lots of stage fighting involving characters who are unambiguously good or evil.

Laughless, brainless, styleless, and clueless.

Norbu tries too hard to please and charm, but his film at least carries the advantages of unactorly faces and a premise based on actual events that dramatizes the issue of religious vocation in a secular world.

The incredible adventures pile up unrelentingly, with no inflection, no downtime, and each new space is a set decorator's hallucination, as brightly colored as a candy store on acid.

A major washout.

One very sick and messed-up movie.

Prinze and Stiles regularly talk to the camera, but that doesn't make their characters self-aware.

This mildly moody SF thriller belabors standard dramatic conceits involving jealousy and sexual betrayal.

Hokey.

Nothing miraculous, but it's time pretty well spent.

The rest of these animated sequences...depend on gimmickry, cuteness, or facile ideology, and don't come close to demonstrating the complex relationship between sound and image found in "The Sorcerer's Apprentice."

A dense and subtle masterpiece.

The narrative--a complex structure of flashbacks and shifts in perspective that's part inspirational story, part courtroom drama, part character study, part exposé--never makes it seem that history is being oversimplified.

This spiritual thriller is too wooden to be taken as seriously as was clearly intended.

Using archly staged interviews and reconstructions that draw attention to the components of the documentary form, Morris does justice to the complexity of hot-button issues by suggesting several layers of subtext at once, portraying the articulate Leuchter as both rational and prone to rationalize.

Even when his work is at its most contrived, which it certainly is here, writer-director Ron Shelton is the best purveyor of jock humor around.

Even the most shocking elements of the story are made bland by childish overkill.

Overall it's what it aspires to be--a pleasant time-waster.

This adaptation of Patricia Highsmith's novel is commercial to the core.

By the time the manic camera slows down to reveal the back stories of the characters, everyone's motives are either moot or redundant.

If misery were inherently interesting, this adaptation starring Emily Watson and Robert Carlyle as a couple plagued by alcoholism and child mortality might be too.

Though it suggests intriguing ideas about the nature of performance, humor, ambition, and the consumption of spectacle, the movie only superficially explores them.

Loaded with facile social themes, opaque characters, pointlessly intricate flashbacks, and inflated technique.

Thoroughly researched, unobtrusively upholstered, this beautifully assured entertainment about Victorian England is a string of delights.

A musical number or two might have balanced the overdetermined politics and spectacle in this version.