Nolte looks like a man with one foot in the grave and nothing to lose. He single-handedly rescues this caper flick from its own mediocre storyline.

Decent in its special effects and has the advantage of having Hilary Swank and Aaron Eckhart in it.

With its clumsy storytelling and lack of someone to filter Duvall's gushiness about the subject matter, Assassination Tango winds up shooting itself in its own dancing feet.

Travolta’s performance in Basic is irritatingly familiar to his overacted, spastic performance in "The General’s Daughter." Either that, or he’s channeling Nicholas Cage from “Face Off” again.

After all is said and done, it seems like the jokes during the end credits are the tow truck of the movie, the engine quitting after the halfway point.

Even with its over-the-top performances, Gaudi Afternoon is an emotionally and intellectually subtle work.

Clearly a love letter to Paltrow, offering her plenty of moments to show off, but her acting is often flat and the self-adoration of the movie is almost too much to handle.

Much of Dreamcatcher just doesn’t make sense.

On the whole this is pretty standard shoot-‘em-up fare. Bang, crash, boom -- yawn.

Similar to one of those smutty 80s comedies, Boat Trip is a Farrelly brothers like gross-out with a homophobic entwine.

It's in the characters that the film works beautifully, right up to the clever and tender final sequence.

One thing that separates undie from indie is bad acting. Bring it on! There are some stinky performances here, and stinky moments in the script. Great! If it don't stink it ain't punk rock. I'd rather dig the tunes and remember deadpan deliveries.

I'm sure the filmmaker would disagree, but, honestly, I don't see the point. It's a visual Rorschach test and I must have failed.

Highly entertaining film.

Willard doesn’t try to be great art (although if you really think about it, there are plenty of themes borrowed from “Hamlet,” “The Birds” and “Frankenstein” to name a few). Willard just is.

Fast-paced, at times even a bit frantic, Under the Skin of the City is above all a mother-and-son story.

The bottom line is the movie's a mess. Friedkin would like one to believe there's more than meets the eye to his tale of two trackers.

While this film offers plenty of laughs and a cool soundtrack, it also tiptoes around complex subjects of social change and inter-racial relations.

Fans of prison flicks would do better to catch the HBO series "Oz" or the five millionth rebroadcast of "The Shawshank Redemption."

Aside from a few routine battle scenes, the movie's action consists mostly of people slogging slowly through non-stop rain. This is not interesting, much less exciting. The dialogue is hokey hero blather.

The movie gives us lovingly shot landscapes, portraits of extraordinary friendships, a great score, dialogue that only occasionally slips into history lessons, a number of memorably etched minor characters, a splendid performance by its youngest star and two mysteries.

Rife with predictability and lacking any originality whatsoever, the lackluster Laurel Canyon demonstrates about as much depth as one of Ian's pop songs.

Hits an edginess that will keep today’s audiences laughing.

Let me set the record straight: Gaspar Noé is the real deal. Is he excessive? Yes. Manipulative? Sure. Pretentious? Absolutely. But, he’s also one of the most exciting filmmakers on the planet.

The biggest strength of Cradle 2 the Grave is that it doesn’t take itself too seriously.

About as funny as a funeral.

It’s shocking how much Dark Blue hates cops.

The love story that is supposed to drive the film fails to ignite a single spark--and, hence, the film fails to generate a single iota of interest from the viewer.