All manner of superstitions, religious conspiracies and insurrections are aired, resulting less in awe than bewilderment. However, taken as an exciting and expansive cultural bridge, the film is a roaring success.

The film still delivers the goods, in part because of Eastwood's iconic presence and in part because of Daniels' scene-stealing work in what could have been a hokey role.

The performance itself (which aired on PBS and is available on DVD) apparently went perfectly; given the potential pitfalls that Miller documents, it's some kind of miracle.

Were it not for the gravity of the setting, the movie could just as easily be a comedy -- with everybody play-acting and doors opening and shutting and the repercussions of lies multiplying geometrically -- as a drama.

This may not seem to be the stuff of comedy, but a comedy it is, and a compelling one too, laden with hot sex and standout performances.

Just be advised guys, Blade II is as estrogen-free as movies get, so you might want to leave your date behind for this one, or she's gonna make you feel like you owe her big-time.

Shot in black and white by the renowned Raoul Coutard, and with a score by Michel Legrand, the film represents an idealized view of reality that will strike some viewers (including this one) as overly sentimental.

Stephen Earnhart's documentary lovingly covers the process -- veering between pathos, inspiration and mockery

It's an interesting, often worthwhile, film, but humor isn't its strongest attribute.

Full of fresh and unexpected observations about the cross-culturally complex lives of second-generation Indians living in the U.S.

It's odd for a film to be both dramatically conventional yet emotionally bizarre at the same time, as this one is.

Proves a lovely, sweet alternative for audiences fed up with the latest hell-on-wheels action thriller or the newest horror film comedy spoof.

While there's nothing original in Rush Hour, it runs through its well-worn paces with both wit and excitement.

The repetitious structure begins to grow wearing about two-thirds through, but the conclusion has an emotional wallop that justifies the wait.

Can barely move during its final half hour, which is a shame, because until then it's a frenetic, engaging ride -- a huge grin, not unlike the one Tom Cruise now hides behind his grownup's braces.

Pustules, puberty and pregnancy...seven stories tall! Mostly grand but occasionally grody

Forster is the reason that even non-Mamet-heads might consider giving Lakeboat a shot. It's worth it just to see him in his long one-take exchange with Johnston about booze, but he's remarkable throughout.

Gentle and gorgeous, honoring atmosphere over attitude.

Chuck Russell doesn't make masterpieces -- he makes good B movies ("The Mask," "The Blob"), and The Scorpion King more than ably meets those standards.

It is a moving and solidly entertaining comedy/drama that should bolster director and co-writer Juan José Campanella's reputation in the United States.

It's hard not to warm to a film that features William Shatner (playing himself) looking at De Niro's character and complaining about what a lousy actor he is.

We so often hear the lament that Hollywood films don't have characters we can care about that it's a real pleasure to note that all the people in this one feel fully developed. It'd be nice if there were more of a plot to go along with them.

Solidly entertaining little film.

Analyze This won't win any Oscars, and its comedy is pretty tortured in places, but the pleasures of watching DeNiro onscreen never diminish--not even when he's putting the glories of his criminal past at risk.

For all its brilliantly brazen sequences and energetic supporting players (as the young lovers' mothers, Brenda Blethyn and Lisa Banes are terrific), Pumpkin's abrupt shifts of mood and needlessly complicated ending(s) render its latter third a bit of a chore.

Everything leading up to the finale is funny and often heartfelt.

Shot on High Definition video, this exceptionally well-made but exceedingly bleak peek at tinseltown would be unbearable were it not for the sympathetic performance of Danny Huston.

If the performances are the prime reason the film is as engaging as it is, it must also be said that Majidi's visual style seems far more sophisticated than in "Children of Heaven."