Did nobody involved in this project notice that it was retreading a very deep groove?

There's nothing at all scary about White Noise, which goes bump in the night so often it's easy to mistake it for clumsy.

The film is ultimately so extraordinary because it deals with something so ordinary: the desire to be better than we are, without knowing how to do it.

Radford has made a gripping, highly cinematic adaptation of a gorgeous work of theater.

It never jells. Primarily, it can't rise above two major weaknesses: a plangent, plaintive script and the inadequacies of John Travolta.

Penn's lead performance is the main attraction here, and it's a fine piece of work--far superior to his overly showy Oscar-winning role last year.

The film is sweet and often genuinely funny, with lively musical numbers and a cast of entertaining personalities.

The performances of the Anglo cast are closer to catatonia than Catalonia.

So thoughtful and provocative that we cannot help but become engrossed.

It's left to Barbra Streisand and Dustin Hoffman as Greg's parents to warm up the picture, and they light it on fire. Indeed, they're having such a swell time as Roz and Bernie Focker that they seem to be in an entirely different movie--a funnier one, a sexier one and a smarter one.

Runs two hours and 20 minutes and plays like 10 days in the county jail.

Cheadle, always a fine actor, is outstanding here--an almost willfully naive yet uncommonly decent man who sees civilization crashing and burning around him yet who, almost against his own better judgment, refuses to give in to it.

Yu's approach to the material is brilliant.

A fun and loving biopic

Just might be Jim Carrey's finest screen role...The rest of the movie, however, isn't quite up to Carrey's level.

Never quite works, despite the wonderful performances or the decency in the screenplay's margins.

This half-hearted, half-witted remake of Robert Aldrich's compelling 1965 tale of survival, ingenuity, and teamwork generates no heat.

By offering up the feel-good, MGM-styled musical version, a movie you can hum along to, his biopic serves only as a giant question mark; why bother if you're going to excise the interesting and naughty bits.

A flawed film worth seeing.

For now, it might be best to acknowledge this as an impressive debut and wait for the grown-up stuff to come.

Baby may not be quite as compelling as Mystic River or Unforgiven, but there's something so stirring, and disquieting, too, in his quest that we cannot help but pay close attention to him. In the middle of his long career's third act, he's still searching for the secrets in things with striking resolve. You certainly can't ask more than that of any 75-year-old ex-gunslinger.

Soderbergh seems to have found his vision again. It'll be a great day when he returns to writing his own material, but until then, this is none too shabby.

The more technically proficient Anderson gets as a filmmaker, the more emotionally barren his movies become, till at last The Life Aquatic drowns in a sea of self-indulgent touches that delight the filmmaker but distance the filmgoer who wants to love the director and his characters but just can't, not anymore.

This Trinity may be the least of the three--sound familiar, Matrix faithful?--but it's the closest in style and attitude to a pulpy comic book, an art form that doesn't need to be lofty, perfect or even sensible to tickle a dork's fancy.

A superb and piercing documentary.

Full of intellectual stimulation as well as low, dark pleasures--"Carnal Knowledge" redux!

Its exquisiteness can overwhelm in a single sitting.

I Am David is by far the best after-school special to hit the big screen this season.