There's no chemistry between Deeds and Babe, but then how could there be, considering that their characters have no existence, except as the puppets in scenes of plot manipulation.

Is alive, and takes chances, and uses the wicked blade of satire in order to show up the complacent political correctness of other movies in its campus genre.

Predictable to its very core, and in a funny way the predictability is part of the fun. The movie is in on the joke of its own recycling.

Sayles' film moves among a large population of characters with grace, humor and a forgiving irony.

This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill. Minority Report reminds us why we go to the movies in the first place.

The movie doesn't get all soppy at the end and is surprisingly unsentimental for a Disney animated feature. It keeps its edge and its comic zest all the way through, and although it arrives relatively unheralded, it's a jewel.

The Navajo code talkers have waited a long time to have their story told. Too bad it appears here merely as a gimmick in an action picture.

If the film had been less extreme in the adventures of its heroes, more willing to settle for plausible forms of rebellion, that might have worked. It tries too hard, and overreaches the logic of its own world.

Surprisingly sweet and gentle comedy.

A skillful action movie about a plot that exists only to support a skillful action movie. The entire story is a set-up for the martial arts and chases. Because they are done well, because the movie is well-crafted and acted, we give it a pass. Too bad it's not about something.

This conclusion is too pat to be satisfying, but the film has a kind of hard, cold effect.

Not only am I ill-prepared to review the movie, but I venture to guess that anyone who is not literally a member of a Scooby-Doo fan club would be equally incapable. This movie exists in a closed universe, and the rest of us are aliens. The Internet was invented so that you can find someone else's review of Scooby-Doo. Start surfing.

I won't tell you I didn't enjoy parts of Bad Company, because I did. But the enjoyment came at moments well-separated by autopilot action scenes and stunt sequences that outlived their interest.

A remarkable film.

A lightweight charmer with a winning performance by Robin Tunney.

Rubber-stamped from the same mold that has produced an inexhaustible supply of fictional Southern belles who drink too much, talk too much, think about themselves too much, try too hard to be the most unforgettable character you've ever met, and are, in general, insufferable.

An experience so engrossing it is like being buried in a new environment.

Director Phil Alden Robinson and his writers, Paul Attanasio and Daniel Pyne, do a spellbinding job of cranking up the tension, they create a portrait of convincing realism, and then they add the other stuff because, well, if anybody ever makes a movie like this without the obligatory Hollywood softeners, audiences might flee the theater in despair.

You will either be in sympathy with it, or not. Much depends on what you bring into the theater. It is possible that those who know most about Nijinsky will be most baffled, because this is not a film about knowing, but about feeling.

The humor comes from the contrast between Elling's prim value system, obviously reflecting his mother's, and Kjell's shambling, disorganized, good-natured assault on life. If Felix and Oscar had been Norwegian, they might have looked something like this.

Munch's screenplay is tenderly observant of his characters. He watches them as they float within the seas of their personalities. His scenes are short and often unexpected. The story unfolds in sidelong glances.

The movie is brilliant, really. It is philosophy, illustrated through everyday events. Most movies operate as if their events are necessary--that B must follow A. "13 Conversations" betrays B, A and all the other letters as random possibilities.

It's surprising to see a director like Michael Apted and an actress like Jennifer Lopez associated with such tacky material.

The film has been directed by Jonathan Parker; he adapted the Melville story with Catherine DiNapoli. It's his first work, and a promising one. I admire it and yet cannot recommend it, because it overstays its natural running time.

Unlike most remakes, the Nolan "Insomnia" is not a pale retread, but a re-examination of the material, like a new production of a good play.

The film is short at 82 minutes, but surprisingly moving, and has a couple of really thrilling sequences.

The important thing about "The Importance" is that all depends on the style of the actors, and Oliver Parker's film is well cast.

The most important sequence in Late Marriage is a refreshingly frank sex scene involving Zaza and Judith. -- Watching this scene, we realize that most sex scenes in the movies play like auditions.