If there is justice in this world, this is the movie that will get people talking again about the excitement of film.

A potentially great film stuck inside a not-so-great film. Watching Dog Run is fairly painful since flashes of brilliance peek out and shine at unexpected moments.

Despite some brief nudity and much swearing, the whole endeavor feels like some sort of half-assed Christian "Adventures in Faith" story I might have endured in Sunday school.

A wild, rapid-fire collage that's as fiercely funny, original and provocative as anything I've seen on a screen in a good long while.

The action-comedy could have easily been a delightful romp thanks to its A-list cast and well-written script, but poor editing causes Bandits to be just another hum-ho movie.

Predictable and tiresome.

Despite my ignorance of Hong Kong, I'm convinced that Iron Monkey could be the best, most entertaining martial arts film I may ever see.

There's a lot to enjoy, and plenty of potential, but none of it pays off. So we're left with what amounts to some very clever experimental cinema in the Lynch vein. Which, if you think about it, isn't all that bad.

While its heart is in the right place and the cast gives powerful performances, Things Behind the Sun doesn't shed any new viewpoint or perspective on the subject matter.

Lahti's feature directorial debut plays like a watered-down variation ("Ghost World") -- that is, until the final third, when the film not only deviates but flat out derails.

Even though children will probably enjoy the film, without any intelligent humor or surprises, Max Keeble's Big Move will definitely disappoint those who were born before 1988.

Spins in its own orbit and dares the audience to come into its weirdly one-of-a-kind environment. This is a delightful work of humor which is worthy of Spielberg-level praise.

Despite its few flaws, Joy Ride does take viewers on one hell of a ride. It's one of those rare films that manages to take an overused plot and breathe some sort of creativity into it.

Bit of melodramatic grandstanding that it is -- is made irrelevant by Washington's volcanic energy and fierce conviction.

Serendipity leaves one with a pleasant feeling few films generate: that of wanting more.

Smoothly seductive.

Wow. A heist movie that is more focused on people than it is crime. An incredible cast - Robert Forster and Donnie Wahlberg. Getting to see Kristin Minter's breasts and hearing her say, "F---." Damn near a perfect movie.

The oh-so-convenient convergence of plot threads at the climax make the film feel that much more run-of-the-mill.

Stiller is laugh-out-loud funny from start to finish and anyone that may quibble about plot minutiae, is just not ready to have a good time.

The reason I hate this movie so much (besides the fact that it sucked) is that there was so much behind it and it still was a bland.

This is a curious example of taking a hair-raising story and draining the drama from every corner, leaving it a bit flat and ultimately forgettable.

Just when you think it could not get more ridiculous, Hall, Lanier, and Miss Mariah go that extra mile.

Sports fans will go nuts over it, as will anyone who appreciates the fine cinematic storytelling on display in the film.

A musical feast for eyes and ears alike.

This musical epic is unlike anything I (or anyone I know) have ever laid eyes on.

One of the most shocking Japanese horror films ever. It needs to be seen to be believed, but those with queasy stomachs would do well to stay away.

About as exciting as meatloaf.

This cult chestnut is more intelligent, scary, humorous and effective than hyped recent genre efforts by Coppola, Jordan and Carpenter.

Onscreen, A Huey P. Newton Story is memorable, but it must have been something to see on stage. Roger Guenver Smith gives a striking, extremely physical, performance.

All squeamishness aside, this just isn’t a very pleasant film in general. There’s not a single sympathetic character in the bunch, except for maybe Hyun-nam and she’s a lazy bore. Everyone else is just plain, well, mean. For all the brilliance in some of its action scenes, this sluggish flick feels like a stretched out graduate thesis film.

What ultimately comes through is an undeniably imaginative work that is a glorious testament to the limitless and largely untapped possibilities of cinema.

With a couple of plot twists and a few powerful performances, Deuces Wild is worth checking out -- but only on home video.

This is a story about purgatory, though it goes by the name Camp Pendleton.

Beautiful moments of performance such as Forster's subtly spellbinding monologues -- make for compelling cinema.

Classic B-movie mayhem meets French New Wave.

A diverting and delightful visit with two unheralded indie cinema veterans with a surplus amount of anecdotes and zany film clips.

While the film missteps in a few small places, it's charm, wit, and heart make Kissing Jessica Stein one of the few "must see" films of the year; quite an accomplishment for novice filmmakers.

The director’s new masterpiece is a summation of nearly everything he has learned as a filmmaker, and about black culture, but he doesn’t feel the need to beat the audience over the head for each lesson he’s trying to impart.

Strong performances and moody cinematography make this film worth staying awake for, despite many pensive, hypnotically paced sequences.

Not only does this film have the coolest title ever, but this bittersweet, multi-layered comparison of life's realities versus life's potential is as compelling as it is deeply resonant.

Ultimately, Lee lets the men and their show speak for themselves as showmen, plain and simple.

Not for me, and in spite of that, I found it really funny, smart and sweet. I enjoyed it.

I just don't understand why certain filmmakers rely on cliché plots and stereotypical characters when they make their debut. Nothing seems fresh or daring.

The stories are small but the outcome of each means so much to the characters, you’ll find yourself drawn into their very real world.

What starts out as a fairly conventional and effective stalker drama with a cyber-twist, soon gets too cute with its dreams within dreams set pieces and shifting realities. It’s kinda nifty at first, but Kon just keeps piling it on until you just roll your eyes, throw up your hands, and scream, “Enough!”

The best thing about a movie like this is I never have to see it again.

If you love KISS, you'll probably see this movie anyway. If you don't, there's no point.

Over all, the short stories never gel together or create a unified whole.

At least the studio hired enough likable scene-stealing actors and comedians to carry the bloated carcass of this film over the course of two hours.

I completely dreaded sitting through this movie...Two-hour purgatory.

If distinctly uneven CGI, minimal originality and overly convenient plot devices turn you off, this may not be your film.

Mathew Broderick is likeable enough as the gizmo and gadget-toting cartoon hero in-the-flesh, but the plot, to which the FX wizardry is strung to, is in serious need of a tune up.

The film sets a quirky tone and sustains it until a very bizarre and contrived ending.

From the final product, not only do I not think Jan De Bont has never seen the original Robert Wise film, I don’t think he’s every actually seen a horror film. Have you ever seen a single computer generated effect that scared you, more than just the unexpected sound of a door slamming behind you?

Unfortunately for Epps, Diggs and Jones -- three capable actors -- the disjointed direction of the material robs them of any dimension and forces them to play tail-chassing caricatures.

While we do get a bit of gore, the movie is really about this wacky bunch of people jumping on each other's nerves, kind of a zany hero's journey.

This masterpiece started out at around three stars, but after the credits, it just got sillier and more lurid.

Lee gives us cross-section of characters, almost none of whom escape the summer unchanged.

Aside from the pesky problems of tone and lazy writing, the whole move is a little choppy.

Easily the funniest and most charming film that has been or will be released in 1999 -- period.

Hooter babes and the ubiquitous Steve Buscemi is a riot as the mercurial bum on the street.

Tarzan is a blast for both kids and grownups like myself and gets my recommendation.

In order to spare you the trauma of this cinematrocity, I'll go ahead and tell you how the film turns out. Who killed the General's Daughter? The filmmakers did.

I can't rave about this film enough -- this is passionate filmmaking at its best. One of the best foreign films, heck, one of the best films I have seen this year -- go see it!

The film is not without its problems, some inherent to Wilde's original play.

The audience will respond better to ENTERTAINMENT than a club to the head.

This soothing, elegantly-crafted film is such a marvelous piece of work.

The fourth best virtual reality film of 1999. The best is "The Matrix". The second best is "eXistenZ". The third best, well, there's got to be something better than this.

The acting is admirable and the film's hip, on-the-street feel is enticing, it's just too bad that this Irish "Goodfellas" hangs itself with a plot that's contrived and one dimensional.

There's some darn poignant stuff going on here.... The problem is that the audience will try to connect everything to the explicit Eden analogy, and not everything will. The director wins points for enticing you to figure it out, though, and I did enjoy it.

Hey, it's not "Gone With the Wind" or even "Nightmare on Elm Street", so don't expect a masterpiece. You get a little nudity, a lot of gore, Seth Green doing his ironic commentary thing, and an easy way to kill a couple of hours.

The stars have zero chemistry and the movie is none too thrilling.

Mamet loves to cast his current wives in lead roles -- Whatever you may feel about Mamet's writing, he has an uncanny knack for marrying mediocre actresses.

Dead-on for Cronenberg fans though the mutant reptile and amphibian factory might be a tad(pole) too much for the squeamish at heart.

Marceau's effervescence and graceful stature fill the screen wonderfully, even if its a stretch to see her go lip-to-lip with Spade.

Uneven, unfocused and boring. It is listed as a "black comedy" and while there are humorous moments you will not be laughing much.

What begins as a poetically offbeat comedy, full of energy and verve, turns woefully mundane as the protagonists become introspective and enlightened.

If you like Chan's Hong Kong films, you'll like this. Much of the "dramatic" work and dialogue are horrible but the stunt work here is actually superior to many of Chan's films.

Unfortunately, the script is a light romantic comedy and unwilling to go the extra distance to really make it stick.

The sexually charged undercurrent of Mertoland promises something dark, disturbing or at least provocative, but as the characters reach their defining moments, it's the plot that yields to the ordinary.

It's a little frightening to watch Hawn be "bubbly" at her age.

Of all the teen films released this year, this one is, by far, the best.

I'll just say to anyone lamenting the state of American cinema since the 1970s, if you're curious where the next generation of auteurs is coming from, look in the art houses and look in The Matrix.

It's the outstanding performance from Martin Landau that really seems to hold your interest, as well as hold the film together.

Add another one to the scrap heap of trendy, nostalgic, 60's and 70's TV shows reduced to cinematic rubble by the inspiration starved minds in Hollywood.

Heavy-handed melodrama that rises above its manipulative trappings on the solid performances of the cast.

Trekkies doesn't quite take us to the final frontier, however, it is the best documentary on the subject and a good laugh.

When all is said and done, then, the only thing this juvenile and shameless "Star Wars" knock-off does is whet your appetite for the real deal.

This movie wasn't nearly as bad as I thought it would be. It's still not that good though.

An entertaining, clever look at the backstabbing actors do in search of recognition and fame.

I don't know if this movie could have been made with anyone but Chow Yun-Fat. As Chen, he finally is allowed to display the nervous energy and Eastern rhythms we associate with his Hong Kong work.

Analyze This plays "The Godfather" bit, fast and funny, it just picked a framework it should have refused.

In the end, the whole shebang comes off like a bunch of snotty, rich white kids screwing each other and screwing each other over.

Lock is filled with great writing, great acting, colorful characters, and a tight story. I actually like this film more than "Pulp Fiction".