For the large-type crowd, one that prefers to have its "dirty" clean and silly.

A fresh, intimate, gloriously unpolished performance film that measures up to the classics of the genre.

Comes across as artificial.

Disappointing only because its best moments are transcendent; its worst moments, sadly, are just so ordinary.

Waters offers a worldview that's uniquely his own.

It's absolutely awful, and even Gene Hackman can't carry it across the goal line.

Once Connell finds his feet, he just may stride forth with his Important American Movie. Until then, The Opportunists is simply a whiff of great unwashedness yet to come.

By boiling the characters down to the most basic emotions and eliminating lifestyle-specific idiosyncrasies, we can enter the world of the story with ease.

Since the narrative's destination is awkwardly obvious, and the tone occasionally melts into a sticky-sweet mess like cotton candy in the sun, the movie is most often saved by its generous helpings of clever dialogue.

In short, Just Say Yes.

Eastwood provides more than an hour of easygoing fun, followed by 45 minutes of action and suspense.

Cinematic flat-lining.

Ultimately it's an ugly, insipid rape fantasy, nothing more.

It will linger like a foul odor or the taste of tinfoil between the teeth.

This elegant vision of sexual roles is certain to make a lasting impression and is likely to provoke explosive dialogues in Denny's and sidewalk cafés from here to Monaco.

The striking graininess of the film stock, the near-documentary style of the setups, and Michael Nyman's attentive score add up to a relatable and ultimately hopeful experience.

It's sweet and well intentioned, with occasional amusing moments.

It's too easy, but here goes: This movie's a Loser. Sorry.

It contains nary a dull moment.

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

What Lies Beneath is my head on the movie theater floor, snoozing through this film.

Don't expect to be wowed by a vast spectrum of delicacies, as the buffet here is composed of entirely obvious ingredients.

Shadow Hours must stand simply as an impressive B movie. Compared with what we've seen lately, however, that doesn't seem like a bad achievement by any means.

An ambitious, frustrating drag.

Arteta and White manage to bring off both the comedy and the tenderness in this tale of a jilted friend who sticks to his passions like chewing gum on a shoe.

This is quintessential "family entertainment."

Devotees of the comedienne presumably will think they have died and gone to heaven, while Cho virgins may laugh aloud a half-dozen times but probably won't become converts.

Zhang deftly and quickly draws a half-dozen supporting characters, and his pacing never flags.