The characters have been designed to make fun of themselves, disguising the craft of writer Neil Cuthbert and director Kinka Usher in getting us to laugh at them.

The last and best of his "Tales of the Four Seasons."

Insights about romance are enhanced by the novel production design, which includes puppetry, but the story's reflexivity is smug and cloying.

An E.T. spin-off, but it's a very likable and imaginative one.

Eventually writer-director M. Night Shyamalan neutralizes Willis's star presence with impressive plotting that's a fine excuse for the powerful atmosphere.

Silly and shameless stuff that made me laugh quite a lot.

Maybe writers Josann McGibbon and Sara Parriott were thinking of Tracy and Hepburn--assuming they were thinking of anything--but not even Roberts's smile can put this one over.

With its persuasive special effects, gentle pace, and more expressionistic than surreal production design, this serious yet far from ponderous drama is something of a marvel.

At once self-conscious and generic, this smart monster movie about smart monsters -- supersharks cleverer than the scientist who created them -- repeatedly lulls you into thinking it's paint by numbers.

A judicious mix of the lightly gory, the generously cartoonish, and the unexpectedly atmospheric makes for action that's scary yet unintimidating.

An intermittently enjoyable bad movie that never knows when to stop.

There's charm and insight in the candid depictions of the teenagers' sexual experiences and discussions.

This is a remarkably gripping, suggestive, and inventive piece of storytelling that, like Kubrick's other work, is likely to grow in mystery and intensity over time.

A pretty impressive horror film.

The shticky dialogue undercuts the solid genre plotting, which undercuts the humor.

The idiosyncratic instrumentation and melodies in the score by Angelo Badalamenti ("Blue Velvet") and a masterful opening scene are wasted on this pathetic thriller.

Another giggly gross-out comedy for teenagers.

What we don’t know about these characters–and what we don’t see in certain scenes–is often as interesting and as important as what we know and see, and Assayas’s sense of how relationships evolve between people over time is conveyed with a rich and vivid novelistic density.

Like most of Lee’s work, this movie bites off a lot more than it can possibly chew, and it bristles with the worst kind of New York provincialism.

An entertainingly offbeat blend of 19th-century science fiction and Hope and Crosby Road comedies.

Inspired, self-referential animated musical.

Shtick isn't all this movie has to offer.

Sandler is disarming and compelling as Sonny.

The stylized physiques and movements of the characters in this exciting animated musical-romance-adventure are at once realist and fantastic.

The feminist veneer is the most deeply disturbing part of this callow thriller, whose fetishizing of a dead woman's body (and a live woman's sexual behavior) is far more questionable than anything even "The Silence of the Lambs" has been accused of.

About as entertaining as a no-brainer can be--a lot more fun, for my money, than a cornball theme-park ride like "Speed," and every bit as fast moving. But don't expect much of an aftertaste.

The only problem I was faced with was trying to understand what exactly it was that I enjoyed, and how this movie differed from the play I'd read.

The filmmakers have created a pretentious extended "Twilight Zone" episode with obscenely high production values.