Parker is bland throughout. Maybe all those episodes of "Sex and the City" have soured her on this sort of thing.

This energetically acted, creatively directed comedy-drama has every ingredient for success except a satisfying finale.

This historical fantasy is too ambitious for its own good, but contains some striking imagery and likable performances.

Figgis still deserves credit for taking more artistic chances than a dozen ordinary directors.

Olyphant steals the show as a cheeky porn producer. The rest is gimmicky and predictable, except for a clever surprise near the end.

I suppose it's a good thing that this movie has so many crisscrossing subplots. If one gaggle of whiners gets on your nerves, rest assured the scenery will soon change and another will take center stage.

Written and directed by the clever Wachowski brothers, this is a sequel that only a die-hard fan could love. But those fans will love it very, very much.

Soppy, schematic weepie.

If the movie accomplishes nothing else, though, I hope it inspires the curious to actually sit down and finally read “Moby-Dick.” It’s an extraordinary yarn. Really.

Has its lewd funniness, though not often enough to make it worthy of not only "Bad Santa" but, more to the point, "School of Rock."

It’s not just Frankie who is putting on a show here. Berry is also overemphatically showing off her chops.

Like many a Hollywood political drama, Lions for Lambs carries a full head of steam that is indistinguishable from a lot of hot air.

This sexually explicit South Korean drama aims more to jolt than to illuminate, but it illustrates an aspect of Asian cinema that globally minded moviegoers should know about as films from that region take on more international prominence.

A perfectly funny idea -- call it "Ms. Ditz Goes to Washington" -- that's never allowed to take on real comic life. I laughed exactly once.

Effective action, solid suspense, excellent Ribisi, plus enough clichés to equal the grains of Gobi sand that fill the screen.

If you go to Burlesque expecting a campy hoot on the order of "Showgirls," you may be in for a disappointment. It's not quite awful enough, although it's plenty bad.

The film has so many moodswings that watching it induces whiplash, and just about everybody in it, from Winslet on down to Judy Davis, playing the dressmaker’s crotchety mother, flagrantly overdoes it.

Director John Byrum's idea of evoking the past is to usher a parade of overblown cliches across the screen. [15 Nov 1984, p.47]

Bids for originality by focusing on an offbeat profession. Every other aspect is pretty stale, though, from the smart-alecky characters to the romantic-triangle plot.

Dusted off and brought up to date, it's still the same old Capracorn – minus the populist pizzazz he might have provided.

The trouble lies in its stereotypical style, its schmaltzy emotionalism.

Worth viewing by anyone concerned about world events.

Spacey is endearing, bringing his shy character to life despite glaring psychological gaps in the screenplay.

Plunges energetically into the 16th-century religious rebel's activities and philosophies. It dodges some significant issues in Luther's life, however, reducing its value as an educational film.

Falls flat, with more "sound design" than delicious music, more slick film editing than graceful ballroom gliding.

What keeps the film watchable, aside from the vibrant musical numbers in the nightclub, is Garcia's obvious love for the Cuba of his ancestors, of his dreams. A lot goes wrong in this overlong movie, but it has a human touch.

The violent story is long on nastiness, short on credibility.

All this amounts to a badly wasted opportunity, since global warming is a serious issue that deserves thoughtful treatment. So stay home and read a scientific journal instead. This is a disaster movie that lives up to its label.