Despite its bizarre intellectual project, Le Pecheur's film is seductive and shockingly sexy.

The script is lame...but U-571 works, thanks to the jittery handheld-camera work, the great, visceral sound editing and a few sneaky plot twists.

While the first half showcases an impressive new directorial talent, the last two quarters fail to score.

A fine film; as an Ed Norton picture, it's a disappointment.

This is a movie afraid of its own shadows.

Jones even manages to save this somewhat tiring film.

In the second half the film meanders into all the danger areas one might expect: predictable plot twists, tearful separation scenes between the lovers, and even a joyful reunion in Rome.

Maverick moviemaker James Toback has latched on to the most fascinating cultural phenomenon of the American moment.

May only be remembered for featuring the first homoerotic nude bathing scene in children's animated movie history.

Cusack is a master at playing smart, frazzled, self-flagellating hipsters, and the movie, propelled by his arias of angst, lets him strut his best stuff.

A beautifully told story of a child's innocence and faith, filmed with exquisite detail and stunning cinematography

Comic electricity.

Final destination? Video store bins.

It's a gorgeous bad movie, the folly of a great visual stylist.

As long as Polanski keeps his focus on character and ambiance, the film is an eerie pleasure. But he doesn't, and it degenerates into a second-rate chase movie which takes its supernatural overtones either too seriously or too lightly to be convincing.

The combination of Shandling's button-down TV sensibility and Nichols's good taste produces a film whose tone is out of sync with the simple, ribald conceit and is only mildly amusing at best.

As dumb as the film is, the actors escape relatively unscathed.

Screenwriter Ropelewski piles one silly plot contrivance upon another, and the characters start behaving like nitwits.

[Douglas] is a superb (and underused) comic actor, one who knows that the secret of being funny is never begging for a laugh.

The foreboding, dark camera-work is effective in setting the mood for this sinister, eye- popping, frequently ridiculous thriller.

Gorgeous, mesmerizing, and stunningly well acted.

Like people who compulsively giggle whenever they tell you bad news, the movie runs for cover in lame, comic shtick.

Tries too hard to prove it has a "heart" when the whole point is that its subjects do not.

Gorgeous but curiously weightless.

Enough already with the faux documentary!

Midler's performance does not stand out. She remains very much Bette Midler.

Hilariously incompetent.

A disaster: dull, predictable, at times cringe-worthy.

The flick's ultimate flaw? For a movie about space travel, it's an awfully uninspired trek.

The dedication of the Canadian team strains belief at times, and for good reason.

At the heart of all Morris's films -- from "The Thin Blue Line" to "Fast, Cheap, and Out of Control" -- is a fundamental belief in the unreliability of truth.

A half-hearted comedy whose jokes are far from a knockout.

Damon's Ripley is considerably different from the charming sociopath in Patricia Highsmith's novel or the smooth lothario played by Alain Delon in the 1960 French thriller "Purple Noon."

Stone creates such a sizzling, raunchy, vital world that the cliches almost seem new.

As well-crafted and sensitive as it is, the movie remains one step removed from inspiration.

Forman's decision to stick to the surface is probably, in the end, a wise one. Kaufman always wanted to keep us guessing, and this movie respects his wishes.

All shots and no scenes, which is nice for a picture book but deadly for drama.

Barring one dreadfully trumped-up climactic scene, they've managed to avoid the usual asylum-movie cliches.

Filled with delicious backstage drama, and superb actors reveling in the opportunity to play their 19th-century counterparts.

Hollywood rarely mounts these lavish period epics anymore. It's nice to see them try, even if the result is somewhat less than heart-stopping.

Kids will be bored, the rest of us baffled.

At its best, Magnolia towers over most Hollywood films this year.

Robbins eschews leftist diatribes for a bold cartoon version of history. It's as crowded and energetic as a big parade...and just about as subtle.

A lumbering, self-important three-hour melodrama that defies credibility at every turn.

It does justice to its source material -- and that may be the problem.

The movie tries too hard. Too bad. This coulda been a contender.

A film of ideas; meaty ideas about Catholicism, faith, and the true nature of jealousy, love and hate, that are rarely contemplated in today's cinema.

Doesn't add up to any big deal. But it's a likable, lively little ditty -- one theme, some clever variations -- that never wears out its welcome.

It's not as cool as it sounds.

The superrealist images beguile us with their bold wit, and the storytelling is so tight, urgent and inventive there doesn't seem to be a wasted moment. Which makes you wonder -- why can't scripts this clever be written for human beings?

There still is enough tightly staged action and sly humor to earn this latest installment a memorable place in Bond canon.

At its best it's a marvel: bold, exciting and full of visions.

This is humanism in drag: Almodovar's passionate redefinition of family values.

Rozema's handling of the entangled amours and social gamesmanship at Mansfield Park is delightful and the open-minded moviegoer will have a hard time resisting this stylish and stirring movie.

A languorous, funny and lovingly detailed memory film.

As preposterous as the movie gets, it's clearly reveling in its own hokiness.

Portman gives a superb, understated performance as a teen who gets whiplash from watching her mother's mood swings.

Offers easy wisdom and light-hearted fun.

May be formulaic...but many good recipes are.

There's an ample sense of foreboding in Last Night -- but sadly, very little else.

Reveals a chilling reality: how hard it is to tell a simple truth when big business doesn't want it told.

Like its subject, American Movie works entirely on its own quirky terms.

Charming cinematic bauble.

Careening wildly between fairy tale and drama it doesn't know when to call it quits.

An engrossing, superbly acted film that will haunt the viewer's thoughts long after the film is over.

In the end, it's just another novice-teacher-takes-on-inner-city-kids-and-nobody's-life-will-ever-be-the-same film

Everyone in the film is either annoying or unpleasant.

The beauty and scale of Miyazaki's vision shines through.

I don't know how a movie this original got made today, but thank God for wonderful aberrations.

Relax and enjoy the brain candy.

Rapidly veers towards tired 80's territory rather than offering anything new and fresh.

Funny, sentimental, cheerfully bawdy story of a wedding reunion that stirs up a hornet's nest of old loves, lusts and jealousies.

Full of bravura moments and high-wire performances.

With honesty, charm and an uncanny sympathy for all its characters, the film takes us deep inside the awkward and exhilarating experience of first love.

So bland and un-lived in you want to pour Tabasco all over the screen.

A warm-hearted romp that will leave you smiling -- and strutting.

The most incendiary movie to come out of Hollywood in a long time. It's a mess, but one worth fighting about.

An adult love story that's trying for stiff-upper-lip poignancy.

Peirce's taut, sure-footed first film sidesteps sensationalism without sacrificing any of the story's wonder and horror

(Katja von Garnier's) talent makes this original film exciting and moving, a raucous ride.

A highly entertaining movie in a genre that is often as stiff as the Lady Gibson's boning.

Blackly funny, unafraid to shift emotional gears from farce to horror, peppered with spectacular action.

Through the laughter, though, there is real empathy for the characters. It's a light-hearted movie.

(There's) a half dozen other deftly sketched show-biz desperadoes who make this slight but tangy sleeper such an unpretentious delight.

For those who believe that movies are a proper place to explore the riddle of sex, no holds barred, this movie is de rigueur.

It's worth the price of admission just to hear Vilanch bouncing ideas off of a revved-up Robin Williams.

In the end, the film lacks the skill of its actors and ends up feeling disjointed and confused about its own message.

Save yourself from this mess.

Thomas is supported in his first directorial endeavor by a truly spectacular cast.

Gets a lot of the details right. Outside Providence is a sweet, funny little movie.

About as bad as it gets?a thrill-less "Speed" wannabe.

Despite some funny lines and situations, this comedy falls short.

With a strong soundtrack and a little humor, In Too Deep remains good entertainment.

There are some very funny moments, and Coughlan is a delight as Leigh Anne's best friend.

Though the movie suffers from an underdeveloped plot, it does benefit from solid acting.

The plotting could use some finessing, but fine acting makes this film worthwhile.

Steve Martin and Eddie Murphy are both in peak form.

Slick, gaudily suave guilty pleasure of a movie.