This likable comedy-drama gets most of its oomph from acting.

What with the title and pedigree, no one would expect Eat Pray Love to be filled with thrilling action. But the word "movie" does imply movement, and almost nothing ever happens throughout the protracted two hours and 20 minutes.

The story offers more fast-moving intrigue than heartfelt emotion, but star performances by Daniel Auteuil and Catherine Deneuve lend it additional depth. [27 Dec 1996]

Carrey gives an awesome comic performance.. Look out for huge amounts of deliberately disgusting, gross-out humor, though.

Unlawful Entry would be an important film if it followed this scene with an intelligent look at the social, political, and institutional problems that lead to such incidents. Unfortunately, the movie isn't serious-minded enough to do this. What could have been an incisive examination of an urgently relevant subject turns into mere melodrama with the usual sex-and-violence twists. [14 July 1992, p.11]

The latest entry in this dubious enterprise is “Dumbo,” a perfectly lovely 1941 animated movie that has been transformed by director Tim Burton into a cloddish fantasia that never soars.

Heavy on violence and special effects, light on everything else.

Paul Verhoeven's movie takes more action than ideas from Robert A. Heinlein's 1959 novel, which is just as well, considering the book's goofy suggestion that military veterans should control society from top to bottom.

De Niro, trying his ordinary-guy best not to be mannered, gives one of his most mannered performances.

Interesting for its historical content.

Cage is amusingly skanky, Molina is dependably arch, and Baruchel is engagingly down to earth. But do we really need to watch them play out this exhaustingly empty scenario?

A standard-issue slasher movie, stylishly shot, but with little to distinguish it from a long line of "Psycho"-spawned gorefests.

Goes on much too long, stretching a modest story into a marathon that outlasts its welcome by about 30 minutes.

A very uneven dark comedy.

Kingsley is amusing to watch, however, even though he overdoses on strangeness. He's like a superannuated hippie crossed with the swami he just played in "The Love Guru."

Hovering between "Last Action Hero" and "E.T.," this sci-fi extravaganza is bookended with violence but has some gentle moments in between.

Leo, in particular, seems poleaxed with good intentions. Her Lois wins the Most Understanding Wife award.

Doesn't develop enough momentum to justify its too-long running time.

For all its ambitions, though, the Coens' odyssey is a scattershot affair with too many tricks and twists for its own good.

After all these years of surviving everything that has been thrown at him, James Bond is finally being undone by his own team.

There's interesting material about Soviet history, but searching for answers about the revolutionary's spouse turns out to be less than engrossing.

This modestly produced drama isn't acted or directed with much flair, but it shows a welcome awareness of the complex links between personal and political impulses.

Pierce Brosnan wisecracks his way through the starring role with more aplomb than credibility.

More psychological realism and less showy cinema would have made this offbeat melodrama more memorable.

Talky and mostly humorless, but interesting as a reflection of Breillat's experiences directing her own popular film "Fat Girl" in 2001.

Based on Bennett's own experiences, the movie has no penetrating insights to offer, but it's acted and directed in an improvisational spirit well-suited to its ultra-low budget and digital-video technology.

It's as elegant as any movie around, though, and boasts strong acting by a distinguished cast.

This low-key drama is always warm and mellow, although it doesn't build much of an emotional charge.