An explosive experience...and you have to love the movie's rabid energy and lust.

It's funny. Really funny.

This wildly imaginative thriller is a futuristic head trip you most definitely want to take.

Director Roger Michell ("Persuasion," "Notting Hill") has made his finest film to date.

Far from creating a pungent portrait of a society gone mad with blood and greed, Schroeder's movie strives for political points while it's whiffing on simplicities like character, motivation, and believability.

He's (Eastwood) made a mature film that bests nearly all of the summer's highly touted blockbusters for pure escapism.

The real reason to see it is Brian Cox, best known for being filmdom's other Hannibal Lecter (he played the role in Michael Mann's "Manhunter").

All of the filmmaker's fine work and good intentions cannot make this repetitive and finally tiresome saga fly.

Accomplished, middlebrow costume-drama entertainment. It's not so simple that it could be mistaken for the work of, say, Lasse Hallström, and yet it's not so sophisticated that audiences of "Chocolat" would be mystified.

Savy script... terrific performances... [yet] the movie's herky jerky pacing may leave you wanting.

Gets to the funny bone, but it could've cut deeper.

It's a tad too generic to be a slam dunk.

One of the year's best imports and one of the very few queer movies that transcends its sexual orientation.

This brash, clever picture caught the attention of audiences after years of moribund product from the likes of Schwarzenegger and Stallone.

A superb, wise, and witty Taiwanese film about being single and what to do about it.

It's yet another serial killer movie, a plot element that by this point in time, far from being disturbing or fascinating, is just plain dull.

If you're looking for refuge from summer movie bombast, it's frequently intoxicating.

There's talent to burn in this movie. But the flame is cold.

Has a blithe tone and a capable cast, but Veber's script is 100 percent laugh-free.

Until he (Smith) learns the difference between what has meaning and what's meandering, what feels real and what feels contrived, he'd be better off sticking to the funny stuff.

It's another subtle, fantastic performance from McKee ("Notting Hill," "Croupier").

Rodriguez has made a movie for kids, and the most and least that can be said about it is that parents, while hardly being catered to, will experience profound relief that the movie knows how to entertain and does so.

Intelligently written, sharply directed, and beautifully played.

The man (Apted) behind the excellent "7 Up" series has put a human face to science, making the seemingly abstruse both accessible and easily relatable.

It's amiable enough, but the only real opportunity here is to see Walken step out of the shadows.

As a portrait of a man barely qualifying for a cinematic portrait, Benjamin Smoke is a trifle, but when Sillen and Cohen turn their cameras on the weedy, workaday, hellhole America that Benjamin calls home, the movie comes alive.

Works best as a mood piece — the mood, however, is grim.

It's Norton's movie, really, and he shines both as cocky Jack and as cerebral-palsied Brian.