Moviegoers tired of ethnic humor will find plenty to complain about.

Law is lively and Shyer keeps the action hopping with help from the movie's original gimmick of having Alfie keep up a running monologue to the audience.

Newman's magnetic face isn't enough to raise this intermittently amusing thriller above the ordinary caper-comedy crowd.

Rob Cohen's movie has flashes of wit, but there's little substance to the story, and Draco's charms are surrounded by too much graphic violence. [31 May 1996, p.13]

What we get are themes and variations on previous good work, to lessening effect.

The film somehow manages to be both a turn-on and a turnoff.

It should all be sharper and funnier than it is.

Barry Levinson's filmmaking style is often imaginative. The story contains horrific scenes of sexual torture as well as sadistic killings and other disturbing material, though.

Certainly offbeat, but not on a level with director Kim's previous work about marginalized people.

Sadly it's been botched. Guess Who serves up such flat dialogue and stilted situations that it's hard to sit through.

Moves at a lumbering pace, peppered with ungainly gags and dramatic moments with little emotional power. The ironic commentary on show-biz superficiality is sabotaged by Niccol's failure to make his own story seem real.

The story is as contrived as it is comical.

Ingenious, eye-opening documentary.

There's something foul about staging the assassination of a sitting president in order to push a political agenda that could just as easily have been put forward without resorting to such sensationalism.

At its best it's refreshingly offhanded. It's a hit-and-miss movie that's worth seeing for the hits.

Its screenplay veers in highly questionable directions before reaching a mean-spirited climax that outweighs Ron Howard's workmanlike filmmaking and the contributions of a star-powered cast.

Tamer than tame in every respect, which makes it great for little kids, if not for the grownups who bring them.

The Good German is a prime example of a movie made by highly skilled and intelligent filmmakers that nevertheless seems misguided from the get-go.

The best I can say is that it’s another tour de force for Gyllenhaal, although his intensity isn’t matched by the movie itself, which sacrifices much of its power by too often settling for easy, nut-brain effects.

It occurred to me that Emmerich and Co. might be playing this whole thing for laughs. It probably occurred to them, too.

Gries and Morris act up a storm as the optimistically named Sunny Holiday and his long-suffering manager.

The story never gathers much dramatic momentum despite an impressive cast and a lot of dank Middle Ages atmosphere.

Less a documentary than a love fest for Al Franken, this scattershot movie, shot over two years, follows the zigzag trail of political satirist Al Franken as he feuds with Bill O'Reilly, campaigns against George W. Bush, and helps establish Air America.

Ought to have been state of the art. But there's not a whole lot of artistry to be found in this movie.

This sort of cinema is as dehumanizing as the aliens who serve as its intergalactic bad guys.

Lounguine tells the story with more discipline than you'll find in his earlier films, painting a crowded portrait of a society moving toward a future it can neither confidently predict nor look forward to with anything but nervous anticipation.

Supercharged with an energy and ingenuity that "Run Lola Run" once had a patent on.

The omnipresent Benedict Cumberbatch plays Assange, stringy white-gray hair flowing, and Daniel Brühl is Domscheit-Berg. Condon and his screenwriter Josh Singer don’t quite know what to make of this duo, perhaps because the men didn’t quite know what to make of each other, either.