For fans of science fiction...Galaxy Quest is a sweet, funny valentine to their obsessiveness.

If you like a little action with your war movies, or maybe some butt-kicking Resistance types and a Mission: Impossible-like finale, you won't be disappointed.

In the end, solid acting, stellar special-effects, and well-wrought tension make the film a worthy date flick or matinee outing.

There's an almost natty precision about this picture that's so rare these days in American movies that it provides satisfaction in itself.

Sometimes feels like an acting class gone berserk, with Penn indulging his high-powered cast

A two-hour slice --of comedy pie.

Unlike the original, Hannibal may make us hide our eyes, but it doesn't get inside our heads.

Westerners may find the religious aspects wearying and a little fantastic. The Color of Paradise is both parable and fable, a retelling of Isaac and Abraham.

A film so driven by pure style that a script barely seems necessary in its first half, Boogie Nights becomes bogged down in a predictable aftermath of drug deals, post-stardom decay, cocaine-fueled nuttiness, and self-loathing.

A fascinating combination of dare, stunt and genuine artistic risk -- often disorganized, but never less than entertaining.

Feels like a first draft, in need of toning, pruning, and a little old-fashioned discipline. As an outline, the picture is full of possibilities.

It's smart, funny and insightful and it's quite easy to see what attracted the stars to it.

So campy that it almost plays like a sendup of the series. It is to Alien what "The Bride of Frankenstein" was to other 1930s Frankenstein movies, and it even shares some of the same themes.

But it IS enjoyable.

Will eventually be remembered as a disposable farce, but one that leaves a happy memory.

The film doesn’t come into focus contextually until the closing moments, but as the bullets fly the rhythm is established right from the outset.

Whether or not Breaking the Waves succeeds as a profound work is something that's hard to say after one viewing, but it is certainly a wholly original piece of work.

Silly in some parts, but sheer fun in most, Bootmen will get you wiggling in your seat with a big grin pasted on your face.

It may be a very good, very Brooksian sitcom, but it's accomplished entirely with the broad strokes and resolutely flat surfaces of television.

It’s funnier than it has any right to be, really.

Smith puts the soul in the machine of Series 7, producing an emotional power too real for reality-TV to handle.

It's very effective.

It is Foster who presents the biggest single problem, delivering a monochromatic performance that finds her character not much more than flinty and strained.

Wood’s energetic, tightly wound performance carries the movie; his ability to juggle all the different information coming at him — keeping time on the piano while speaking and hitting his cues — is admirable and probably exhausting.

A by-the-numbers action-comedy that is greatly enlivened by Lawrence's pugnacious, fast-mouthed style.

A perfectly enjoyable and occasionally charming ride.

Tight and quick-moving, the film scores its points and gets on with it.

Snappy heist film that keeps changing the rules of a mystery so that one is never sure whose hands are at the controls.