Where Minority Report succeeds is by dishing up a little bit of everything – to see no one leaves the theater disgruntled. There are helpings of science fiction marvel, there’s some interminable tension and a real human story underneath it all. The specials effects are damn impressive to boot.

Sublimely silly and genuinely sweet film.

While the images presented here are peerless, James Nachtwey is a fascinating individual and it is a shame we cannot learn more about the man behind these extraordinary images.

With a stronger actress who could have been in greater command of the character, Freeze Me would have been a cold-hearted masterpiece rather than the okay thriller it turned out.

ZigZag rests heavily on Jones III's sensational turn as the lead character. Capable of drawing empathy without pity from an audience, his ZigZag is the unlikely constant in a world swirling with change and intrigue.

This is the kind of film where you think you can predict everything that’s going to happen upon the first shot and you spend the rest of the film praying that you’re wrong. But it’s fun getting there.

Makes one interested in seeing the inevitable sequel, but one is also left to somewhat question the worth of sitting through this first installment.

Works on so many levels that it must be reckoned with. It certainly feels unique, and sets itself apart from most American gangster films in its stark refusal to paint the lead gangster as likable or indeed anything other than the vicious socio-psychopath he is.

At least the 20 people who saw it with me -- found it hysterically funny. On the other hand, they all seemed pretty stoned.

"We are who we are," is the mantra for this grim urban drama. That human escape velocity can be awfully hard to reach with all those bad influences hanging around.

From the plotting and the characterizations to the explosions and excessive use of blue light filters, everything about Bad Company has been done and seen before.

Slightly less than lovable. It’s a strained romantic comedy that starts promisingly, takes a hard left turn and slowly falls apart.

Should the likes of Burstyn, Flanagan, Smith, and Knight have to be reduced to playing eccentric caricatures of aging Southern belles?

This is quite possibly the best Canadian film of all time.

There is a lot to like in Kaaterskill Falls. The characters are engaging and believable even when events stretch the envelope of realistic behavior.

Smart, complex, and engrossing idea-driven action thriller.

See this film and laugh your ass off, and in between your tears of joy learn the true cause of racial and ethnic division.

If anything saves Elling, it is the trio of supporting performances that are closer to the real world.

While I personally love this movie, I’m not sure how well received a film about a frustrated filmmaker seeking creative solutions in his personal life and work life is going to be to the average moviegoer.

A noisy, chaotic affair.

Encircles the viewer in a comforting, open-hearted humanism. It’s a quiet, modest piece of work, but no less lovely for it.

Enough is a very bad film and so was “Sleeping with the Enemy,” but at least that film had a first act.

Oh, boy. This is not unlike watching one of the movies Jerry Lewis made after that concentration camp/clown epic nearly destroyed his career and his mind.

A good movie, atmospheric and sometimes creepy. It grabs us with the premise and holds our attention and doesn’t let go, right up to the explosive climax.

Will warm your heart without making you feel guilty about it.

I thought I might have seen everything I needed to see about neo-Nazi skinheads in "Romper Stomper" and "American History X". Not only was I in for a surprise, but newcomer Ryan Gosling gives every bit as stunning a performance as did Russell Crowe and Ed Norton in those two films, and then some.

Clones is not a good movie -- but it is an incredibly awesome Star Wars movie! This is far from a perfect film, but the problems are almost dismissable based on the final result.

It is a horrifying and devastating spectacle of life gone dreadfully out of control, yet it is also riveting and hypnotic in such a dramatic sensation that you are left breathless by the sequence of events which will haunt and torture for as long as your memory remains intact.

Engrossing and brilliantly insightful production.

Not bad for a mainstream suspensefest. Gere's good, Lane, as I said, is amazing in places and Lyne does some of his most assured work in years.

Not only the best I've ever seen, but also the Indian film that'd be most accessible to a Western audience.

Celebrated actor Lin Chung, whose voice seems to articulate something within himself.

Occasionally funny, sometimes inspiring, often boring, the magic is minimal in The Mystic Masseur.

Serves as more proof, as if any were needed, that Allen desperately needs to devote more time to polishing his scripts, and less to heedlessly banging out one film a year, year in and year out.

Just about the truest and most satisfying screen adaptation most anyone could have ever hoped for.

Warm Water Under a Red Bridge is a warm, uplifting romance. It plays out the way most Spencer Tracy and Katherine Hepburn romances do. Seek this out if you enjoy a good, kinky, and romantic film. It simply has to be experienced.

One of the most towering and extraordinary films to grace the screen.

Unfortunately, this horror gem won't even receive the same fate as a crappy "Children of the Corn" sequel, that of ending up on the back shelf of the local Blockbuster. This all but guarantees, that some kid won't accidentally come upon it and scare the crap out of himself. And that's just sad.

I love sex with strangers! Yeah, the film is cool too. But damn, do I love sex with strangers!

Director Stephen Herek certainly doesn't come up with anything, and he fails to make the swings between silliness and schmaltz smoothly.

It's a harsh lesson, but this movie is more than able to grab and hold your attention for it. I just wouldn't bring a date.

The kind of a moron movie, which is built to be watched by people who haven’t even seen the other nine.

Regardless of the poison of choice, I'm always a little miffed when an actor onscreen is supposedly on a specific drug but too lazy to learn what the actual side-effects are.

What could have been the most boring, unwatchable crawl-up-your-own-asshole picture instead becomes a gripping, searing portrait of a lost soul trying to find her way through life. Stephanie Bennett is amazing.

It's brainy and brilliant, but despite amorous overtones and a few good action set pieces, it just doesn't generate the thrills or romance that would have made it a true classic.

May not exactly be an innovative film, but it most certainly is a lovable one.

The film is dumb, formulaic, the other actors are scarcely worth mentioning, and the plot is merely an excuse to set up the action scenes. But it didn’t bore me; The Rock is ceaselessly entertaining.

Doesn't necessarily make Murder by Numbers an awful film; it's certainly watchable, but it never escapes its paint-by-numbers design.

World Traveler did seem completely aimless for the first third. However, once I comprehended where Freundlich was going with this, I began to really enjoy where the film was taking me.

Though this rude and crude film does deliver a few gut-busting laughs, its digs at modern society are all things we've seen before.

Indeed, a triumph of love: love of performance, love of joy, and, above all else, love of love itself.

What was needed was either a Stanley Kubrick, or, well, the Farrelly Brothers. Instead we get warmed over Spike Jonze. Still, a little watered down Spike Jonze has to be entertaining some of the time, so this isn't a total loss.

That’s it! I’ve had it! I’m packin’ up my shit and I’m movin’ to a trailer park down in…down south…somewhere. Apparently, there’s a lot more interesting people in these places than one could ever imagine meeting in their Starbucks bruised metropolitan areas or crosswalk guarded suburbs.

As it stands Changing Lanes already exceeds expectations, provoking serious thought while skillfully telling a compelling, character-driven story.

So immodestly unripe; yet so horrendously tempting you’ll find it hard to resist.

While certainly an entertaining and intriguing film, one simply can't get past the notion that we're watching semi-famous actors pretending to be their more famous characters.

A sour attempt at making a Farrelly Brothers-style, down-and-dirty laugher for the female set.

No, this isn’t going to be for everyone, and if you didn’t like the original show, you’ll probably hate this too. For everyone else, this is the one comedy in ’02 you can’t miss.

While the screen didn't really need another Carmen, it certainly needs a knockout femme fatale like Diop Gai. Hopefully, Carmen can get a much-needed rest and audiences can get much more of this stunning African icon-in-waiting.

Overall, it's good, not great.

Even if you love all things Yiddish, there is precious little to embrace here.

Washes away whatever unique filmmaking personality Franklin has.

Light-hearted and enjoyable film that will have you exiting the theater with a smile.

This well made, slightly cornball and riotously comical romantic comedy not only extols the old fashioned American dream, but charmingly celebrates the virtues of the great American melting pot as well.

Much too aggressively juvenile crass.

There are pleasures to be had early on in Crush, but they get fewer and farther between. Nice while it lasts, the glow wears off all too quickly.

Despite the inherently moving story and the respectable work of director John Lee Hancock and the cast, something remains absent throughout the entire film: a certain sense of verve and personality.

Yes, the film is an allegorical modern fairy tale with plenty of pretty obvious social commentary, but if I can't identify with one character or be made to care, then what's the point?

This is brilliant filmmaking.

It is impossible to say whether the premise or its execution is more fatal in "Death to Smoochy." One would expect something greater out of the talents assembled.

If I had the ability to engage in hyper-time, I would’ve ran up to the box office, snatched my money and left.

A very scary film, well made and lovingly dark, and it illustrates how terrified we are of becoming the victims we see on TV.

The drawing card for Blade II is -- the promise of a blood-soaked action/horror thrill ride, and Snipes and Del Toro get the down-and-dirty job done with style.

If you're hard up for raunchy college humor, this is your ticket right here.

Technically impressive horror film and sometimes fun to watch, but totally undistinguished.

The story is set in real world Mexico, not a cleaned-up movie world simulacrum.

Chalk up another big-name star vehicle that fails to live up to a wealth of potential.

To complain about the lack of originality is to ignore the real wit and joy behind this very fun film.

Takes us into the heart of the desperate, needy, funny, alternately glamorous and sleazy world of the international movie business.

I’m getting fed up with classic films being remade or ruined by being turned into “Special Editions” that are less than special.

Did what I had yet to see any other entrant in this arena do, it crossed generational lines and had 18 year-olds and 50 year-olds talking about the merits of the same film.... and that is truly it’s greatest accomplishment.

This is a good film; strong, honest, strikingly photographed (by Dean Semler) and appropriately devastating.

Forces a self-examination that is both traumantic and revealing.

Any romantic comedy that lacks Meg Ryan can’t be faulted too hard.

The story is enhanced by solid performances all around by Bonnie Hunt, Aidan Quinn and Kevin Pollack.

A great film and an important one.

One of the year's best films. An extraordinary work of intellectual maturity and emotional depth.

Audiences should demand this film be buried never to see the light of day again.

First-time writer-director Serry shows a remarkable gift for storytelling with this moving, effective little film.

Strongly infused with an unmistakably exotic Bollywood flair.

It's performances like these that make it so easy to forget that, when he wants to, Costner can indeed act and be an appealing star.

Confused and dramatically overwrought.

Spears, Davis, and company are well aware that they're making nothing more than the cinematic equivalent of Spears' glossy bubble gum pop -- but that's exactly the problem.

See Scratch for the history, see Scratch for the music, see Scratch for a lesson in scratching, but, most of all, see it for the passion.

Luckily, the genuinely funny jokes far outnumber the duds in the film itself, which is helped by the generally energetic performances by Broken Lizard and their co-stars.

With its simplistic, didactic approach, the presence of a top-flight ensemble is the only thing separating John Q from your average TV movie of the week.

Wants to be a monster movie for the art-house crowd, but it falls into the trap of pretention almost every time.

More criminal than the lack of inspiration in Return to Never Land is the absence of a sense of magic.