Grand entertainment in the old-fashioned sense.

Part of the problem may be the use of non-actors in most of the roles. They look like real people, and they are entirely believable, but none has any kind of star charisma.

These guys are laugh-out-loud funny, not because they're being belittled, but because they're finally getting a chance to show a sense of humor onscreen.

A small but grand expression of the beauty of the feminine, which brings everyone together with revised and deepened appreciation.

We do glimpse the dynamic interplay between rising comedian Eddie Griffin's hilarious obsessions and the loving, screwed-up people who made him what he is.

This first generation of Native American movie directors has already managed to make great strides: While prodding the collective conscience of the U.S. mainstream with their disturbing views of the reservation, they have also opened the door to a vibrant spirit world unknown to all but a few.

A true killing comedy would require a great deal more sophistication than first-time writer-director Peter Duncan brings to the party. He hasn't made a black comedy, really; it's more like a black spoof.

A problem with Park's naturalistic worldview is that it's hard to find anyone to root for. The movie is beautiful to look at, but hideous in its narrative.

As satisfying as much of the film is, there are a few missteps, large and small, that may require indulgence on the part of viewers.

For all of the heroine's shockingly "modern" lifestyle choices, the thrust of the film is remarkably old-fashioned. It embraces the notion that you can have only a single great love in a lifetime...and that's if you're lucky.

It's a deeply divided film--hugely ambitious and uneven, with sequences that seem to point to a new, comically flagrant movie sexuality and others that drag one into the funky muddle of the dreariest dopehead downers from the '70s.

Allen produces a lovable, relaxed--although not uproarious--comedy.

Far superior to either "Life Is Beautiful" or "Jakob the Liar."

A political film in the form of a thriller, rather than a garden-variety potboiler gleefully helping itself to stock political tropes from the genre's grab bag.

Delivers genuine scares.

While it's sometimes tedious viewing, the film proves the perfect complement to this year's hyper-explained "The Day After Tomorrow;" it's utterly free of cheap melodrama and visual razzle-dazzle, concentrating instead on the souls of plausibly human sufferers.

"Meatballs" handled the sleep-away sex stuff better; here it feels like filler between the killer musical numbers that make even special guest Stephen Sondheim smile on his way out the door.

Here Branagh and his writer-director have managed something more haunting than town-square self-flagellation: they've created a man whose appetites will always be greater than his abilities. And for an artist like Woody Allen, who possesses plenty of both, there can be no scarier fate on the planet.

Here's a tip: When Vaughn and Wilson are outed as impostors and forced to leave Walken's estate, grab your stuff and walk out. You'll think you just saw a comedy masterpiece.

Sigourney Weaver and Julianne Moore share their pain in a depressing World.

A highly likable movie.

In the end, The Producers is an enjoyable romp, and at times--as when Hitler sings "Heil Myself"--it's hilarious. But it's not transcendent.

"Homespun" is the first word that leaps in while contemplating Young's charming and moving treatise on provincial America and its deceptively simple denizens.

If you like your substance short on style, or just want a change of pace from "X-Men," this is the film for you.

A bleak, beautiful film.

For many, eXistenZ will probably be more trick than treat. But the film epitomizes the phrase sui generis ("of its own kind") and still maintains a wry attitude toward itself.

For strict action and a heftier soundtrack, “Dogtown” is king, but for audiences craving a story with their stunts, it's time to get Stoked.

The young actors, all first-timers chosen in auditions in Puglia and Basilicata, are completely natural.