Grows tiresome rather quickly.

This one is often more interesting than involving.

Occasionally amusing, extremely gross, but mostly tedious.

Beautifully shot and often moving.

A campy docu-drama about the secretly gay world of 1950's muscle magazines.

Good-natured but mostly unfunny.

Watching Meryl Streep act can be an exhausting experience - and never more so than during Music of the Heart.

The movie isn't bad, only scattered and incomplete.

Slow-moving, yawn-inducing remake.

A visually stunning film.

Being John Malkovich, which contains not a frame of extraneous footage, is more than a must-see movie: It's a must-see-more-than-once event.

A cute, often very funny romantic comedy and an effective vehicle for Matthew Perry.

An ultra-stylized, empty mess.

Risks trivializing history and pandering to feminist fantasies, but it may be the year's most fearless movie.

A lobotomized attempt to make a no-budget John Waters movie, Men Cry Bullets is a painful reminder of just how bad indie cinema can be - especially when it plays with gender roles. It's desperately unfunny and dreadfully acted, written and directed.

The performances by the attractive ensemble cast are uniformly solid.

Filming in gritty, black-and-white 16mm, Riker gets terrifically natural, often moving performances from his mostly non-professional cast.

Downbeat and at times strangely slow-moving despite all its beautifully shot high-speed ambulance rides.

Its portrait of adolescence seems so authentic that it puts most Hollywood products to shame.

Not especially scary or funny, this lame comedy-thriller wastes a decent cast in a plodding tale.

Doesn't live up to the promise of its trailers.

Talky, overlong and, ultimately, just as predictable and repetitive as the maddening relationship it depicts.

As a work of historical documentation, The Source suffers from Workman's wholly celebratory take on the movement.

A poignant, graceful little film.

Amateurishly written and directed, and so predictable that it hurts.

Sucker bait for the sort of credulous cinast who'll buy anything ugly and boring that looks like it's avant-garde...rancid stew of cheap shocks, sleaze and phony artiness.

An engaging documentary.

Lynch's first G-rated feature, turns out to be one of the year's best films...a wonderful surprise.