The movie is both interesting and unsatisfying. The Keitel performance is over the top, inviting us to side with Furtwangler simply because his interrogator is so vile.

Max is played by Jean Gabin, named "the actor of the century" in a French poll, in Jacques Becker's Touchez Pas au Grisbi, a 1954 French crime film that uncannily points the way toward Jean-Pierre Melville's great "Bob Le Flambeur" the following year.

Supplies us with a first-class creature, a fourth-rate story, and dialogue possibly created by feeding the screenplay into a pasta maker.

It evokes the atmosphere of a Sergio Leone Western, sneaking up under the movie's human comedy and adding a smile.

Everyone in The Other Side of the Bed, alas, has the depth of a character in a TV commercial: They're all surface, clothes, hair and attitude, and the men have the obligatory three-day beards.

Made with sublime innocence and breathtaking artistry, at a time when its simple values rang true.

It is admirable and well-made, but unutterably depressing and unredeemed by any glimmer of hope.

The movie is passable as a story but fascinating as a document. It gives a more complete visual picture of the borders, the Palestinian settlements and the streets of Jerusalem than we ever see on the news.

Isn't bad so much as jumbled...You get the sense of too much input, too many bright ideas, too many scenes that don't belong in the same movie.

A disposable entertainment, redeemed by silliness, exaggeration, and Chan's skill and charm. I would not want to see it twice, but I liked seeing it once.

Who is this movie for? Not for most 13-year-olds, that's for sure. The R rating is richly deserved, no matter how much of a lark the poster promises. Maybe the film is simply for those who admire fine, focused acting and writing.

Murphy has a kind of divine ineptitude that moves beyond Marilyn's helplessness into Lucy's dizzy lovability. She is like a magnet for whoops! moments.

This film is delightful in the way it finds its own way to tell its own story. There was no model to draw on, but Shari Springer Berman and Robert Pulcini, who wrote and directed it, have made a great film by trusting to Pekar's artistic credo.

Passionada assembles the elements for a soap opera, and turns them into a bubble bath.

An imperfect but deeply involving and beautifully made Western.

Sweet, in its meandering way. It has no meanness in it, no cynicism, no desire to be anything other than what it is, an evocation of the fun of living your life as a skateboarder.

It is piffle, yes, but superior piffle.

While there are too many characters in too much story for the movie to really involve us, it's amusing as a series of sketches about how the French think they are a funny race (or the Americans, take your choice).

One of the best cop thrillers since "Training Day."

Body-switch plots are a license for adults to act like kids; probably nobody has had more fun at it than Tom Hanks did in "Big," but Curtis comes close.

A harrowing look at institutional cruelty, perpetrated by the Catholic Church in Ireland, and justified by a perverted hysteria about sex.

The movie is so extravagant and outrageous in its storytelling that it resists criticism: It's self-satirizing.

Tries hard to be a good film, but if it had relaxed a little, it might have been great.

Although the movie cheerfully offends all civilized notions of taste, decorum, manners and hygiene, it has a sweetness that is impossible to discount, and it is often very funny.

Lopez and Affleck are sweet and appealing in their performances; the buzz said they didn't have chemistry, but the buzz was wrong. What they don't have is conviction.

The film is filled with spot-on performances, by Harris, Glenn, Phoenix, and by Paquin, who has grown up after her debut in "The Piano" to become one of the most gifted actresses of her generation--particularly in tricky, emotion-straddling roles like this one.

Most audiences will find it baffling and unsatisfactory. Those who are open to its flywheel peculiarities may find it bold, funny, peculiar and delightful.

It is intensely involving at the outset, but it faces an insoluble problem: The story, like the characters, has no place to go.