One of the weirdest, hardest-to-place studio films I've seen in years.

Wouldn't you rather learn about his culture from Norbu than from Richard Gere?

The film gets an "A" for effort, but doesn't have the courage to really get as bloody, messy and dirty as its subject matter inherently is.

Takes an easy target and turns it into something naggingly weird.

The single best thing about Stuart Little is Nathan Lane.

It's possible that Ritchie's most important asset is the comic constant within his characters' existential dilemmas. To a man (and, indeed, they're all men), Ritchie's anti-heroes are at odds, in either large or small ways, with their own natures.

A decent, smart, well-acted film.

A piece of fluff that can be enjoyed without guilt.

Delivers its humor with clockwork reliability.

Something rare: a mess of a movie that is somehow infectious, and infectious not despite the mess, but because of it.

Gorris has beefed up the role of Natalia (Watson), with the end result that the film's emphasis is appropriately divided between the two characters in an emotionally satisfying way.

Smith has crammed the film with enough genuinely funny moments and insightful bits to make it well worth seeing.

The winks and nods to fans are deliciously satisfying.

Isn't quite enough to save the Bond franchise -- but it does prove that 007 is Y2K-compliant.

Julia Roberts owns this sweet-natured film.

As with Bill Clinton himself, Primary Colors forces one to take the disappointing with the good, the letdown with the promise, the compromises with the hope.

The graphic battles may grow repetitious toward the end, the final scenes are almost sadistically drawn out, and the script often lacks humor. But this movie moves.

Quite smart, sensitive, and relatively sophisticated.

(Morris) sees Leuchter's story as more personal, more about one individual's self-absorption and folly, than an indictment of a particular system.

(Owen's) existential angst and the interesting layers of character and setting give Croupier a sharp, engaging edge.

A very pleasant experience in watching life unfold in its own direction and time.

Norton's performance, which is every bit as varied as his Oscar-nominated work in Primal Fear, once more demonstrates that he's one of the most remarkable chameleons working in film.

his bleak and somewhat sadistic picture is the type of movie that unfolds like a slow car wreck. You know something bad is going to happen, you just aren’t sure what, or how, and when it eventually happens it is repulsive and yet you still can’t turn away.

Eventually falls into the same candy-coated trap it's trying to expose. But the fact that a movie can acknowledge the trap exists is a step in the right direction.

Starting small and building steadily, the movie reaps some fall-down funny laughs.

A modest picture with quiet ambitions that is likely to disappear into that lush tropical rainforest where so many films of this sort, some much worse and others much better, have all gone in time. Catch it while you can.

One of the most consistently amusing ways in which it frustrates audience expectations has to do with how amazingly little of this very violent cast of characters' violence actually ends up being expressed onscreen.

It's a guy's film that doesn't just revel in testosterone, though -- it has a more purposeful agenda.