The best thing about the film is the majestic mountain vistas, shot in Canada. You can practically inhale them.

Nora Ephron's comedy tries to be sweet, hip, innocent, and sophisticated all at the same time, and it doesn't take long for these contradictory goals to cancel one another out.

This slick doodle of a movie is nothing so much as an advertisement for itself.

This fact-based drama is very well-meaning but also cloying, sentimental, and simplistic. Gooding's fake-toothed grin deserves an Oscar for best makeup, though.

This throwback to the outmoded blaxploitation genre is skillfully filmed by Dickerson, but has little else to offer besides cheap, violent thrills.

Director Vadim Perelman is big on slo-mo lyrical effects and confusing time shifts, making the movie unnecessarily arty and detracting from what could have been a searing psychological study.

This should all be risible except that Dowdle, who has worked in the horror genre, knows how to amp the action and keep the terror taut.

It's not the retro attitudes in "Confessions" that bother me (at least not much). It's the lack of laughs.

The star's over-the-top energy isn't enough to make this hopelessly vulgar, numbingly repetitious farce worth watching.

Poor writing and directing are the culprits - and whatever possessed the gifted Moore to make her role a nonstop Diane Keaton imitation? There oughta be a law!

Great premise, but the ensuing trials and tribulations - not to mention hapless attempts at comedy - are as off-key as a karaoke scene in which Hudson sounds worse than any audition Simon Cowell has ever had to sit through.

The idiocy of the film's conceit is that Simon recruits innocents like Will to carry out these vigilante killings.

There are many tantalizing bits, but the overall result is a simplistic story wrapped in barely explained quantum physics and new-age sound bites. Fascinating and frustrating in about equal measure.

Poetic conceits only work if they're poetic.

The whole enterprise comes across like a first draft.

The action is fast, furious, and occasionally quite funny.

The film has enough wild driving to satisfy any "French Connection" fan or "Bullitt" buff, but there's precious little for anyone else to enjoy. 2 foolish + 2 flashy = 4 get it!

Robin Williams is no Fred MacMurray, but he plays the hero with his customary energy.

As generic as its title.

Tennant's featherweight comedy is clearly pitched at the date-movie crowd, and couples may enjoy it if they can get past the picture's simplistic ethnic stereotypes and its willingness to wish away every real-life family problem the characters will surely face after the feel-good finale.

The movie has promise as a psychological thriller, but the filmmakers show far more interest in chases and shoot-outs than characters and ideas.

If you're in the mood for razor-sharp satire, this is the most refreshingly outrageous movie of the season.

Don't expect much from the scratch-and-sniff "odorama" gimmick; the mischievous John Waters set a higher standard for that novelty in "Polyester" (1981).

The staging of the physical comedy in The Pink Panther is not always adept - director Shawn Levy is no Blake Edwards - but Martin, who co-wrote the screenplay, keeps spinning in his own orbit anyway. And what an orbit it is.

There's more than enough gruesomeness to keep hard-core horror fans screaming, but others should stay a million miles away - or 2 million, if spiders make you squirm. [12 Jun 1998, p.B2]

Crossing Over is not a success but make no mistake: There is great drama to be found in these streets.

As Judah Ben-Hur – full names, please – Huston is serviceable, but he’s a finer actor than this costumed kitsch allow him to be. As Judah’s boyhood best friend and adoptive brother, Messala, against whom Judah will eventually square off in the Roman Circus, Toby Kebbell has even less to work with than Huston, and he bears a disconcerting resemblance to motivational guru Tony Robbins.

Too many clichés and too much uneven acting dilute its impact.