A frustrating film that leaves the questions--pretty much all of them--unanswered.

Good actors can get away with glib, and Woods is one of the best, persuasive enough to have you spotting freshness in the familiar and wisdom in cliches.

Intelligent, sharply produced and respectful of its female characters, For the People looks like a winner.

Good Girls understands the genre (revenge fantasy) and source material (see above) but hasn’t the slightest idea what to do with it.

The hokum factor is pretty high, but Hennessy is a nice combination of pert and sour, her primary co-stars are solid and the premise is functional. [24 Sep 2001]

Purefoy brings some raffish charm to the role, but these days, who wants to embrace raffish philandering philanthropists--particularly ones so defiantly dim.

Cheap humor? Yes. Based on obvious stereotypes? Yes. Funny? What can I say? Borat got a chuckle out of me. And so did Bruno. [21 Feb 2003, p.B47]

Skillful, at times powerful, blend of fact with fiction — and not always clear which is which.

The narratives here lack subtlety, historic context or--strangely enough--even drama.

Outrageous, eccentric, funny, campy--and too creepy for small kids.

A flawed if promising start for a tough old veteran that proved it's still got some fight--and talk--left.

Van Damme--older, wiser and slower, also wrinkled, hunched and melancholy--salvages an otherwise fascinating, uneven mess.

Of necessity, the story is so rushed, the characters so carelessly brush-stroked, that what should be climactic--the first manned spaceflight--feels incidental, almost blase.

Being Human echoes, move for move, the BBC America fave of the same name. Yet, Syfy simplifies the tone into young-adult novelhood, where there's lots of white space around really big print. Subsequent episodes improve as plots thicken.

It's cheeky parody/homage, exhibiting affection for comic books and other pulpy amusements, while maintaining such a zippy pace, there's no time to consider whether it hangs together. Or whether that matters. (Great voice cast, though.)

Like the previous four "AHS" editions, the fifth is a visual feast (which is probably the wrong word here, but you get the idea). Everything--everyone, and not just Gaga--is eroticized, too. Even the shadows are seductive. A shame that it all feels so grim and joyless.

Terrifically hard to love, but some superb performances indicate that at least it's worth the effort to try.

Fine reboot that gets better in two later episodes.

de Cadenet's interesting. Her talk show is much less so.

The three judges are amiable, upbeat and gentle. They’re also incapable of criticism, either constructive or harsh. ... It’s a soft down pillow, a gentle bromide for turbulent times. Ageless, old-fashioned, congenial, reassuring.

If it wasn't a docucomedy, it would just be dull.

Where is this headed? Who knows? But it's heading there slowly. Nevertheless, the cast--Common, Meaney, Heyerdahl and Mount--is good, while the Old West still feels especially beautiful and perilous.

Above-average special effects and the presence of two old and beloved friends--you know who!--more than make up for an eye-rolling new premise.

The fifth-season opener efficiently brooms away that creaky storyline, and even pivots on an effective twist that reinforces one more “HoC” theme: Frank will be Frank.

Dumb premise threatens to sink promising series.

Yes, this is all very familiar--Sundance's "The Returned" was better, by the way--but there are still solid hints of an engaging series.

Parker’s good, but otherwise Divorce is sullen and sodden.

The “fat” stuff is way overdone, but Bader and Mixon are good. Otherwise, your watchwords are: too soon to tell.