It's the kind of cutesy idea that doesn't ring remotely true.

If you were a fan of David Cronenberg's "Crash," based on J.G. Ballard's book about people who get sexually excited by auto accidents, you might just be the target audience for Quid Pro Quo, a perverse psychological drama.

Taking a cue from the “Batman” series, the film is dark and thudding and overlong.

Zemeckis tries to juice things up by staging numerous chase scenes up and around London, but do we really need "A Christmas Carol: The Action Picture"?

Mostly just another exercise in snappy editing and over-the-top mayhem that will leave most grown-up movie- goers cold.

Rosen­thal serves up a hilarious documentary of his travails developing "The Voroniny," or, as it was known in development, "Everybody Loves Kostya."

The results are visually striking, but conceptually they oscillate between poetic, pretentious, and philosophically dubious.

There are moments of real humor and real emotion in this otherwise frivolous sex comedy about a married man smitten with a glamorous model.

It's movie-making as match-making.

Harris and Heche make an interesting team--- and the picture reaps the benefit of their creative performances

The delayed release of this 1975 drama provides an interesting view of her (Breillat) early development as a world-class filmmaker.

Lee has always had an affinity for innocence and an abiding affection for outcasts, and both traits serve him well in Taking Woodstock -- but only up to a point. Beyond that point, where sanctification meets reality, the film floats up, up, and away.

However you slice it, The Eagle is hokum, but modern-day Scots may get a kick out of the film's depiction of their ancestors as mud-caked hellions. Modern-day Romans will have to settle for less.

Fred Schepisi, one of the world's great directors ("The Chant of Jimmie Blacksmith," "A Cry in the Dark") is working at half-speed in The Eye of the Storm, a convoluted family drama derived from a Patrick White novel.

John Hughes pours his usual slickness and sentimentality all over everything. [27 Feb 1987]

The Brothers Bloom is much more interested in showing off its own smarts, such as they are, than in challenging the audience's.

The result is maddening, exasperating, occasionally exhilarating – and mostly boring.

Hopkins has been fitted out prosthetically to resemble Hitchcock and he does a reasonably good job of impersonating him, but it's a foredoomed effort.

By skewing the film into a father-son inspirational saga, the filmmakers sell out the best possibilities in their material. Lurie clearly wants Resurrecting the Champ to be "more" than a sports movie, or a newspaper movie. Ironically, he ends up with less.

Despite never having made a movie before, and utilizing comparatively primitive camera and recording equipment, Kurt and his son Ian crafted a movie unlike any other in the rock-doc genre.

It's never altogether clear why this visually blah and dramatically bland movie needed to be made at all (or why it wasn't made for television instead). The only answer I can come up with is that Murray wanted to show off with a cigarette-holder.

Turn the River becomes a standard fatalistic misfits-on-the-run movie with more than its share of improbabilities. It's as if Eigeman didn't realize how good the best parts of his film were, and so went ahead and trashed them.

The film is best when it focuses on Barnabas's culture shocks in this brave new world. Depp has fun with the character's bafflements without camping it up. What's missing overall is the sense of fun Burton once evinced in films like "Beetlejuice."

The pop-music star Prince makes his movie debut in this bizarre drama about a rock singer with a troubled career and a miserable home life.

What rescues Eagle vs. Shark is its focus on Lily. Although Horsley overdoes the winsomeness, she is genuinely appealing. Love erases Lily's geekiness and in its place stands an attractive young woman.

Whereas the original, directed by Joseph Sargent, was essentially a well-oiled B movie, the new incarnation, directed by Tony ("Enemy of the State") Scott, is bristling with high-tech gimcrackery and over-the-top camera flourishes.

Sincere acting lends the film a measure of dramatic dignity.

The action of this South Korean melodrama is fast and furious, but its emotions and ideas don't manage to keep up.