You won't see any film this year as beautiful, and plain thrilling as Apocalypse Now Redux. Watching it after sitting through this summer's record number of dumb, dreadful movies is almost a painfully good experience. [3 Aug 2001, p.30]

The marvelous Burtonic gothic/nightmare production design -- scenery, weaponry, costumes, etc. constantly pleases the eye without ever distracting you from the plot.

Remarkably sluggish and not particularly suspenseful.

So s-l-o-w-l-y paced it seems twice as long as its two-hour running time.

An utterly beguiling tale.

The director has listed Jean-Luc Godard as an influence, which explains the movie's French New Wave exuberance.

Barely enough chuckles to keep from running out of gas. Yet it's the sharpest-looking movie shot so far on digital video, outdistancing even "The Anniversary Party."

Mostly it fails to score. Maybe that's why no one has attempted summer-camp comedy since the third "Meatballs" sequel a decade ago.

Entertaining and heartwarming -- especially when Mirren sweeps into scenes with acid observations that fail to disguise a heart of gold.

Accurately described as an Icelandic version of Pedro Almodovar's gender-bending black comedies -- but it's also reminiscent of early Woody Allen movies.

Takeshi's elliptical directorial style here is overwhelmed by the script's crudeness and lack of narrative power.

Surprisingly funny and sweet, despite some missed comic opportunities and curious casting choices.

It's a positive hat trick by John Cameron Mitchell.

As hip, funny and truthful a sleeper as has ever flown under Tinseltown's radar.

The "Jurassic Park" movie franchise does not evolve. Quite the opposite: It degenerates at great speed.

Amateurish in the extreme, the film is a feast of bohemian cliché, bad writing and worse acting.

Except when Norton is playing retarded, he and De Niro basically compete to see who can under-act the other. It's positively mesmerizing.

It's often hilarious, and there is lots of the zippy, apparently improvised dialogue that made "Swingers" such a pleasure.

Merely a watery, poorly directed update of "Clueless."

A truly repulsive piece of trash that says far more about the absence of values from contemporary filmmaking than the waywardness of teens.

Writer-director Patrick Hasson whips up a surprising amount of fun.

Well-acted and nicely photographed, and has good action sequences, even if the screenplay (by M'Bala, Jean-Marie Adiaffi and Bertin Akaffou) is simplistic and there are slow stretches.

What makes Final Fantasy a final failure is a predictable, nonsensical plot, laughably lame dialogue and a surfeit of cloying environmentalist piety.

Light summer fun with a Flemish accent.

Li is powerless when the film slows to a crawl to provide a little drama.

Overlong and not well-acted.

For all its virtues, this is not a film to see on less than a good night's sleep.

Perabo gives a fairly impressive and flashy performance, even when the script descends into melodrama.