What's good about the idea is that it triggers the kind of debate we would be having over Iraq if there was a draft. What's bad about it is that the three main characters in Robert Malkani's script - anti-war lawyer George (Chris Klein), gung-ho cab driver Dixon (Jon Bernthal) and sissy novelist Aaron (Elijah Wood) - are not interesting, either as individuals or as three amigos.

For all its scale, grandeur, historical context and political brass, "Kingdom" is no more compelling a period drama than last year's "Alexander."

The movie mostly sustains its excitement of the hunt. But the real star is the panoramic, beautifully composed cinematography of Vilmos Zsigmond. Whether he truly loved the African locations or is cursed with "a gift" doesn't matter; the dynamics of the story often flag, but the visuals lend a palpable excitement. [11 Oct 1996, p.49]

Every trip requires patience, and this one brings plenty of rewards, in the ecstatic sounds of a country most of us haven't been able to visit firsthand.

Starts strongly and is bolstered by thoughtful performances.

Sophisticated in that European way and predictable in that Hollywood way.

Just when you think it's a violent drama, it turns into a comic road picture, before finally becoming a tender romance.

It may be that Gronkjaer couldn't get the nun to open up to her. But not knowing much about her creates an awkward imbalance that Vig, fascinating as he is, can't overcome.

Pure dumb fun -- horror slapstick that rudely parodies both the arterial violence of slasher films and the topless hedonism of the spring-break ritual.

Though predictable and a bit of a soap opera, Ferzan Ozpetek's Italian drama is saved by the tremendous appeal of its stars, Margherita Buy and Stefano Accorsi.

Suleiman isn't much for words, but when he's ready for action, there's no hiding his anger.

A riveting story.

While Kim is unable to keep us riveted on her near-silent performance, the script and direction have a gentle sensitivity.

Once you're past THOSE scenes, and come to know the context and characters involved, you'll find something both deeply humanist and emotionally complex.

After a few movies in which Paltrow was in danger of becoming a caricature of herself, she's back in rare form.

The action sequences that follow are routine to the point of monotony, involving chases through crowded streets and store fronts, a commandeered bus, a woman in peril, and so on. But Donner wisely devotes long spells in between to the evolving relationship between Jack and Eddie.

Short, sharp and to the point, Vacancy has a single goal, and that is to scare the hell out of you.

Despite some emotional dips and a see-it-to-believe-it load of schmaltz at the end, The Bucket List is mostly a joy ride with good company, and the actors obviously were having a high time on their traveling boondoggle.

Alnoy's unnerving mood piece is spare and atmospheric, even funny. The movie is accomplished, but gets hung up on arty composition.

There's magic afoot, even if the movie is more serviceable than magical.

It's both a compliment and a criticism to say that Michèle Ohayon's scrappy documentary ends much too quickly. Every moment of this story - about America's unlikeliest matchmaker - is fascinating. We just need more of them.

The Stockholm syndrome, that strange psychological malady by which hostages bond emotionally with their captors, is the central theme in this intimate melodrama.

The way he presents his romantic history is both clever and entertaining, but after a while the story becomes tediously familiar.

Given the lousy singing of Kirsten Dunst in "Spider-Man" and Drew Barrymore in "Lucky You," it's nice to report that Fisk - Sissy Spacek's daughter - shows real talent performing two songs here.

Unfortunately, despite some strong performances, the movie never really makes a case for its own existence.

Wood is compelling, but Charlie Hunnam ("Nicholas Nickleby") is the one to watch.

Powerful theater.

A rare opportunity to see shorts without having to spring for a ticket to a film festival.