A difficult time rising above the level of a reasonably nice TV-movie.

I would rather have been scraping gum off my shoe than sitting there another minute.

Though the film is generally weak, treading very familiar ground, those dashes of insight and humor - along with Griffiths' performance - pull you into the film.

When your characters are only skin deep, so is your message.

It's not easy to go 12 rounds against a cliche-ridden story like Price of Glory and remain standing. But somehow stars Jimmy Smits and Jon Seda, and first-time director Carlos Avila, manage to survive.

A too-familiar road.

Not quite good enough to leave more than a vaguely pleasant, vaguely disappointing aftertaste.

For anyone who wants to see wildly inventive, peerless filmmaking that's oblivious to market-place formulas, Beau Travail is an absolute must-see.

(Cusack)'s genius, however, is in his continual ability to be the most likeable of everymen.

Don't be surprised if you exit Here On Earth feeling both moved and incredulous.

Crudup tends to take average parts in standard genre films and turn them into something special.

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.

Lost its chance to be anything but an endurance test for the viewer.

It's a notch above average, but Whatever It Takes can't get too far above that notch.

As he did in "Run Lola Run," he has clearly patented an original combination of cinematic eye and ear candy and a profound, irresistible fascination for the role of chance in this world.

The gravity-defying harness maneuvers popularized in the U.S. with "The Matrix" -- ... look really cool, but seem out of place in a realistic gang-style action movie.

Retains enough of Soderbergh's usual indie sensibility to make some sly but contentious points.

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

It's hard to root against Death when the people involved are never brought to life in the first place.

For a good 40 minutes or so in the middle of this movie, De Palma is in his element.

A nonsensical mishmash.

Almost unbearable.

Steadfastly conventional.

A long portrait of someone who outstays his welcome fairly early on.

Let your children have their childhood while you have a rare, grown-up experience at the multi-plex for a change.

What makes the film so special is that while tickling your postmodern funnybone, it never forgets to make you care for its characters, in a welcome, and almost traditional way.

An endlessly contrived exercise in self-referential "black comedy", can't help but strike me as no kind of triumph of anything over anything.

A dismal film, a flop as both 21st-century romantic comedy and gay "Kramer vs. Kramer."