Unless you are severely addicted to Johnny Depp, this film offers very little in the way of genuine entertainment value. Ultimately, “The Brave” should have been renamed “The Foolish.”

The story is such a cut-rate kid's sci-fi fairy tale that at one point Evil actually calls Gary Oldman on the phone (and it isn't played for laughs).

Garofalo is amazing, as always, and the film is almost about her as much as the leads. The recreation of the casts' high school years is wickedly funny and dead on.

One such feeble miscue that can't be saved by the star power of Joe Pesci and David Spade.

Director Dwight Little does a solid job to keep things credible and moving, while the script makes an earnest effort to hide the true villain until the climax.

It's damn funny. It's also the best date film I've seen in a long time.

This film marks for Jon Voigt a concerted effort to unseat Christopher Walken in the competition for the Czarship of sneering, wheezing, Machiavellian, all-around weird guys. He spends much of his time standing around making a face like Beavis does when he's really freaked out.

What could have been a cool concept movie buckles under an uninspired script and some treacherous miscasting.

This movie is only really interesting during the moments of physical conflict that pop up throughout the film. These few scenes are well executed and riveting as hell.

While PP does contain the lesbian-toilet-poo-poo-homo-butt kind of humor you would expect, (Ba Ba Booey) underneath that, there is a real movie there with fully developed characters and engaging conflict. It's an absolute must-see.

I saw this movie in a room full of San Francisco movie critics, and I haven't heard that much laughter since, well, the piano duet in "Island of Dr. Moreau" (which you must admit, was pretty funny.)

I loved it. I'm glad it was made...Film Threat's association with Flynt would sometimes bring gasps of outrage or phones slammed down in disgust. Now, it brings curiosity and even admiration. Kinda weird, huh?

Even the harshest critic has to recognize the sheer unbridled joy of their ignorance.

The seemingly total access and seemingly total coverage the film makers enjoy makes us forget at times that this isn't some Hollywood fabrication.

Microcosmos is that rare film to lead us, to reiterate why the camera is just as important as the paintbrush, keyboard, pen, chunks of clay, and anything else that can be used to make art. This is art.

Patrick Sheane Duncan's script deftly weaves together the stories of Serling and Walden, and Zwick remarkably sidesteps the trap of sticky sentiment--an idea further carried forth by Ryan's admirably against-type (and shamefully unsung) performance.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

Sophomoric silliness.

Nadja succeeds most when embracing its lineage, those visual echoes of Universal and Hammer Studios, with the visual weight borrowed from European art horror, yet falters when maintaining cool distance from material that demands a stronger commitment

The bright spot of Paul W.S. Anderson’s film is the villains.

The animation in Pocahontas is a testament to the constantly evolving skills of the various animators involved, drawing characters that manage to make an impact, even if only a small one.

If the first two "Batman" movies (1989/1992) were the storm, then Batman Forever (1995) is the rainbow at the end of it. After seeing so much dark and doom, it’s also refreshing to see some beaming color.

Higher Learning is John Singleton's interracial state of today's campuses version of School Daze minus the musical numbers. Surprisingly, it's just as much a gang movie if not more than Boyz 'n the Hood.

Randal is a beautiful hostile piece of work that only could have come from America. He's the sort of guy who never put in a quality day at the office in his life, but somehow probably winds up winning the biggest lotto drawing ever with a ticket he stole from his loser best friend's Quickie Mart.

The first masterwork of the post-modern pop culture generation...gets better with every viewing, and like good rock n' roll, needs to be played loud!

The bottom line is that the only Texas Chainsaw Massacre movie that you need is to see is the first.

Love it or hate it for its content, one must concede that it is nothing short of a technical marvel.

A timeless classic, full of excitement, humor, witty asides and memorable characters.