Surprisingly tender and resolutely unpostmodern.

As worthless a piece of garbage as we've seen this year.

The material turns out to be far soggier in the execution.

Isn't great; it doesn't come within a Yukon mile of its TV namesake. But it's agreeably bizarre.

Not too far from the version of "Serpico" staged by the Max Fisher Players in "Rushmore."

Flecked with delicious malice, and the kids, especially newcomer Coughlin, performs with verve and high energy.

All set-up, no soul... Nothing here is that inspired, that clever.

With the exception of Murphy . . . the rest of the cast Oz has assembled acquit themselves only adequately or worse.

Exceptionally smart and charming.

Unfocused. We feel cut adrift amid the various plot threads. This is exacerbated by some murky exposition. Characters, events, and the passage of time are not always clearly established.

An unpretentious, funky, fast-moving work every bit as enchanting as the book.

The flashy sensationalism of The Sixth Sense -- maybe the best thing about it -- is at war with its desire for contemplation.

A gentle, beautifully realized tale of love and intimacy...It moved me to tears.

Not everything in the film happens according to the traditional, overly familiar blueprint.

Are there really legions of postboomers out there sighing nostalgically over the happy hours they spent watching Inspector Gadget?

Unspools slowly and erratically without ever hitting an emotional or comedic stride.

It is, as his films usually are, dense, complex, and challenging. It is also, sad to say, ponderous, often inscrutable, and ultimately not much fun.

Easily the scariest horror picture of the '90s, a movie that can take a place among the most potent and inexorable of modern shockers.

The only genuine surprises on hand are the few moments when the film defies the expectations that have been programmed into our collective neurons by the past 25 years of horror movies.

It's painful, it's real, and it's probably the funniest thing you'll see this year...a teen sexploitation classic.

The cast has plenty of room to emote, but their task feels a bit empty and thankless. For the most part, they're carrying the director's water.

Bigger, Longer & Uncut delivers: It's never less than funny, and at its best, it's truly hysterical.

A perfectly entertaining little French comedy that doesn't quite lodge in your brain in the way you hope it would.

It's a hilarious, dumb comedy that's smart enough to be something more. And all it does is make Sandler the most soulful -- and the funniest -- comic in the business.

A fine entertainment value. It's beautifully made, drenched in deep, rich emerald, with sinuous tracking visuals driven forward by pleasantly African-flavored songs from Phil Collins.

It should be said that Travolta delivers a wonderful performance that's lost in a mediocre -- and, at times, rather misogynistic and homophobic -- film.

It's unlikely that anyone will be bored. But it's just as unlikely that anyone will be swept off his feet either.

Kills whatever charm the first movie had by recycling its few serviceable parts.