Bullock is cute. Grant is even cuter. They have the timing and panache of a first-rate comedy team.

The story is silly, the acting is campy, the effects are amusingly tacky. A mildly entertaining romp that pokes refreshing fun at its own occasional violence.

Striking an excellent balance between wry cultural critique and crisp entertainment value, the picture is as smart and funny as any comedy-drama in recent memory.

Langella's performance turns what might have been a "Twilight Zone"-style trifle into something more: a movie about a proud, ornery man combating his fearfulness.

Sometimes enticing, frequently savage.

Its low-key charm shows that Dogma filmmakers have yet to run out of ideas.

Blitz captures high school atmosphere well – not an easy thing to do – but overall the movie coasts on quirkiness.

Strangely moving and mournful, but I wish more had been made of the beauty these people are relinquishing, if only as a counterweight to all that artful drear.

For movie buffs, the only real fun to be had at Inception could be toting up the lifts from other movies, including Cocteau’s “Blood of a Poet” and “The Matrix” series and just about anything by Kubrick.

It's all a bit precious and preening, but Coogan is marvelous, almost as good as he was in Winterbottom's "24 Hour Party People."

A lively portrait of contemporary painter George Condo.

Lively acting and good-natured feminism lift this lightweight comedy a notch above the norm.

Ronald Harwood's screenplay, based on his stage play, brings an impressive range of moral and political issues into play. The acting is also strong.

The Four Feathers ends on the same dubious note as "Black Hawk Down" and other recent war movies, suggesting that loyalty in the trenches -- not the reason for fighting in the first place -- is all that matters. Many will disagree.

Braugher perhaps overvalues the parallels between Stephanie and Lydie. The scenario is too schematic and diminishes the power of each woman's story. She frames the drama as a cross between a whodunit and a whydunit, and neither strategy is entirely successful.

This unevenly paced comedy is an amusing parody of monster movies from "Them!" to "Alien."

The real heroes are cinematographer Stephen H. Burum and editor Bill Pankow, who help the picture keep popping even when its plot and dialogue go into a slump.

The movie is longer and slower than necessary, but it explores interesting questions of wartime violence, personal integrity, and what it means to come of age in a society ripping apart at the seams.

Too intense for the youngest viewers, but teenagers will enjoy it -- an ill-smelling "stink-god" character is almost worthy of a Kevin Smith gross-out movie -- and grown-ups should find it diverting, if not exactly deep.

Fiennes brings to the role a shimmering subtlety.

Poignant, witty, historically illuminating.

There are endearing and powerful moments which thankfully overshadow the occasional clichéd passages.

If Jones were a more accomplished director, and if the relationship between Pete and his captive wasn't so schematic, this movie might have been worthy of Sam Peckinpah.

There's hardly an original shot in the picture, and the screenplay ignores all opportunities to explore the patterns of poverty and racism that contribute to mob behavior. [22 Apr 1988]

No masterpiece, but that shouldn't dissuade moviegoers from giving it a whirl as a flavorful alternative to the summer's more gimmicky fare.

Even if baseball isn't your favorite sport, or if you don't like sports much at all, you'll find something to catch your attention in this smartly made (if unblushingly vulgar) new comedy. [7 July 1988]

The film's power grows from its dark-toned portrayal of the World War II era and from its evocative use of flashbacks, which show more interest in the characters' emotional lives than in story devices like surprise and suspense.

The film works best when it focuses on the touching, crazymaking relationship between the two men.