A flashy, splashy and violent chase thriller.

Does have heart and enthusiasm. But it might have worked better if it had been glitzed up and energized the way "Fame" was. It's not a script that can survive this kind of minimal, earnest, self-congratulatory treatment.

Not for the sexually conservative. Not even for the sexually moderate liberal. It is, however, for the right crowd in the right mood, a very fine film.

Twohy pulls all the strings to create an inventive genre piece.

I enjoyed parts of Street Kings but I didn’t believe one thing about it, and I couldn’t get past Reeves’ unsuitability to his role. He may someday play a cop on the edge convincingly, but the edge needs to be sharper than this.

Foster's direction, aided by cinematographer Matthew Libatique's sharp, clean light, is the most fluid and well-considered of her career. The script is an asset, too. Until it becomes a mixed-bag liability.

Everything in the film is high: high concept, high pressure, high stakes and it often feels bizarrely forced. Nothing makes any sense and is never explained.

What good is a movie that can’t stop moving, or screaming, long enough to pace itself?

It's nice to see an action movie take more than a passing interest in where our country is at the moment, and then exaggerating that moment into the realm of shrewd exploitation. To wit: Any film combining an indictment of false religiosity with an indictment of violence-solves-violence political pandering in a single line of dialogue — "These weapons have been cleansed with holy water!" — is OK by me.

Valmont is a superb piece of craftsmanship, impeccable in every detail from lighting to costuming, but as a work of art it remains tentative and blurred. [17 Nov 1989]

About overcoming adversity and one's innermost fears. On this count, Paxton hits the ball squarely in capturing the psychology of his characters, but hooks it into the sand trap of effects and thematic overselling.

Instead of becoming bewitched, we're caught up in one more gallery of cliches and storytelling blunders. The Glitches of Eastwick. [03 May 1996, p.C2]

Director Arthur Penn (Bonnnie and Clyde) may have intended this to be a campy homage to Hitchcock, but instead he gives us a boring, frustrating and stupid story. [06 Feb 1987, p.A]

Demme gets a lot of flavor and spice into his "Charade" remake, but he can't disguise that he's spiffing up leftovers that aren't so substantial or fresh.

The shame is that Pitre, shooting entirely in his home state, wasn't more engaged himself. His intimate connection to the people, place and story, which certainly inspired him to write the film in the first place, is wasted.

Ultimately, p.s. confirms Kidd's talent without expanding it or achieving the comic/dramatic heights of "Roger Dodger."

I can't imagine a better actress for this part than Australian-born Cate Blanchett. Blanchett, who can be regal ("Elizabeth") or slutty ("The Shipping News"), manages to catch the feel of Guerin.

Bold and totally off-the-wall comedy.

The actors — including Patton as Bobby's DEA colleague and sometime fling — cannot act what is not there. But with Washington, Wahlberg, Olmos and Paxton around jockeying for dominance, the standoffs have their moments.

There's something a little absurd about this story, but for me, it's endearingly goofy.

Enjoy the love in your life, and don't squander it: That's all Curtis is selling here, really. With Gleeson and McAdams at the forefront, About Time has a beguiling pair of rom-com miracle workers helping him close the sale.

This romantic-comedy action movie is a fizzle.

A dramatic true story has been made into a diffident biopic.

For all its limitations, the film still looks terrific. Flawless CGI and forays into animation keep things visually lively, and Nim’s enviable life is likely to hook kids into the story early and keep them entranced.

Naive, decadent, sluggish, dazzling, touchingly sincere in its belief that “a vital conversation” about the state of our nation can save us, even with barbarians at the gates: There’s something to vex everyone in Megalopolis.

With a story that is absurd every step of the way, Mr. Majestyk is turned into a hodge podge of cruel and unusual punishments.

Jan Kounen, the maker of Darshan, is a French director with flashy credentials, including music videos, commercials, horror shorts, violent gangster movies ("Dobermann") and offbeat westerns ("Blueberry").

Watching this movie is like spending two hours and 27 minutes staring at a gigantic aquarium full of digital sea creatures and actors on wires, pretending to swim.