A satire with the reckless courage to take on both sides in the abortion debate.

I enjoyed this movie on its own dumb level.

My guess is that the average firefighter, like the average American moviegoer, might sort of enjoy the movie, which is a skillfully made example of your typical Schwarzenegger action film.

Riedelsheimer, earlier made "Rivers and Tides" (2002), about another artist from Scotland, Andy Goldsworthy, whose art involves materials found in nature...Evelyn Glennie and Andy Goldsworthy have in common a profound sensitivity to their environments.

Separate Lies reminded me of Woody Allen's "Crimes and Misdemeanors"... seemingly about the portioning of blame. It is actually about the burden of guilt, which some can carry so easily while for others, it is intolerable.

Perhaps the whole business is too cerebral and circumspect to stir up emotional involvement, or perhaps there’s a tinge of wine snobbery that has a slightly distancing effect. Then again, maybe it’s wrong to expect much in the way of excitement from a quiet art best suited to the sedate setting of a fine restaurant.

The movie feels dark, clammy and exhilarating -- it's like belonging to a secret club where you can have a lot of fun but might get into trouble.

Mary Elizabeth Winstead, who has consistently delivered good work in countless genres on TV and in the movies, delivers one of her most memorable performances as the title character, who is smart and cool and infuriating and sympathetic and odious and entertaining and so much more.

Poetic Justice is not ["Boyz N the Hood's"] equal, but does not aspire to be; it is a softer, gentler film, more of a romance than a commentary on social conditions.

The movie is part farce (unplanned entrances and exits), part slapstick (misbehavior of corpses) and part just plain wacky eccentricity. I think the ideal way to see it would be to gather your most dour and disapproving relatives and treat them to a night at the cinema.

More important, it has a Disney willingness to allow fantasy into life, so New York seems to acquire a new playbook.

You may be imagining this is an animated film, and that Jack Black is voicing Lemuel Gulliver. Not at all. This is live action, and despite the 3-D, it's sorta old-fashioned, not that that's a bad thing.

What I regret is that all of the expertise lavished on this movie couldn't have been put at the service of a more intelligent story about real firemen, real working conditions, real heroism, and the real craft and art of fire-fighting.

Amazing in what it shows, but underwhelming in what it does with it.

A charming documentary about the finalists in the Teenage Magician Contest at the annual World Magic Seminar in Las Vegas.

There is a kind of pleasure to be had from its directness, from its lack of gimmicks, from its classical form. And just like in the Warners pictures, there is also the pleasure of supporting performances from character actors who come onstage, sing an aria, and leave.

A powerful but often stilted drama bolstered by two great performances from accomplished actors and nearly sunk by an unfortunately (and surprisingly) off-key performance from another fine actor.

Neeson is in nearly every scene in the movie, and he carries it well. Yes, he’s played this nails-tough, world-weary, scotch-loving, ex-law enforcement type again and again — but he’s as good as anyone in the world at playing those types, and in this case he has some rich material to work with.

The flight sequence and many of the other action scenes in this new Disney animated feature create an exhilaration and freedom that are liberating. And the rest of the story is fun, too.

Heartbreakers is "Dirty Rotten Scoundrels" plus Gene Hackman as W.C. Fields. I guess that's enough to recommend it. It's not a great comedy, but it's a raucous one, hard-working and ribald, and I like its spirit.

A surprisingly effective thriller.

The movie proceeds quickly, seems to know its subject matter, is fascinating in its portrait of the inner politics and structure of the terrorist group, and comes uncomfortably close to reality. But what holds it together is the Cheadle character.

Costner’s performance is filled with memorable moments.

This is a story which, in other hands, could have simply been an all-female slasher movie, but Barbet Schroeder, who produced and directed it, has a mordant humor that pushes the material over the top. It is a slasher movie, and a little more.

The tension we need to draw us into the story isn't there; things move at too leisurely a pace, and the movie, like the Jimmy Stewart hero, has to be dragged into the excitement against its will.

Instead of cheap thrills, Schrader gives us a frightening vision of a good priest who fears goodness may not be enough.

What's sort of wonderful is the way this movie takes that old formula and makes it fresh and new, with actors who give it wit and charm.

I admire the closing scenes of the film, which seem to ask whether our civilization offers a cure for Vincent's complaint.