It's quite a lot of fun.

An enjoyably clever and cartoonishly gory rom-zom-com.

Partly because of Caine and partly because of meticulous work by veteran director Norman Jewison, The Statement is a fiction done so effectively, it rings true -- even slick lines that may otherwise be rancid.

Apart from Connery, the star of the film is Mamet's deadpan script, which obviously inspired one of the movie's baldest old-movie tributes.

Affleck is more interested in the people in the midst of the action than he is in the action itself, and that gives this accomplished genre piece considerable and compelling depth.

Whip It (which takes its name from a play in which skaters hold hands and form a human whip to propel the last skater forward) is heaven on wheels.

Like many Apatow films, Bridesmaids has a rambling, disjointed quality, crammed with sequences that elicit laughs without advancing plot.

That's what Blue Crush is getting at: girls going for the gold in a sport that's traditionally been the domain of men.

Blithely funny and on-the-money movie.

Gluck is not a visual storyteller. He depends entirely on his performers and their snappy dialogue.

While the movie feels shelf-worn, Efron's performance is fresh.

That this ambitious, if deeply odd, film is so compulsively watchable is a credit to Gibson's compelling performances, both as spiritless Walter and the Cockney-accented voice of the tireless title character.

Undertow has the plain, stark, disturbing quality that marked the original "Cape Fear" and "In Cold Blood."

Isn't as strong a film as it could have been: Only teasing slices of these people's lives are offered.

Deftly filmed and directed by Jean-François Richet.

It's a minor work in the Yimou canon, but a major visual treat.

Despite its title, Outrage is calm, riveting, and provocative.

De Niro's minimalist performance has maximum emotional impact and succeeds in unifying the episodic film.

Great? No. Great fun? Oh, yes. Like Sergio and Aldous, this movie messes with your mind, then tickles it.

An examination of loneliness and the need to connect in an increasingly disconnected world, What Happened Was . . . is disturbing, funny and unpredictable in the way people themselves are disturbing, funny and unpredictable. [07 Oct 1994, p.05]

Blessed are the Pythons for making holy wit of the Holy Writ.

This soulful tale of a teenage underachiever who exhibits flashes of genius is a surprise on the order of wandering the movie desert and finding the Garden of Eden.

Rohmer pulls off a wonderful feat: celebrating the elegance, and artifice, of another era at the same time he brings this tale of social upheaval boldly into the present.

For the first half-hour I, too, demurred. And then the irresistible force that is Hugh Jackman -- or was it his swoony Leopold? -- swept me off my seat and into the movie.

It's a comedy that knows that no matter one's ethnicity, human foibles, follies and hopes are universal.

Smart, funny, and gross (often at the same time).

Though it's rife with unexpected scene-stealers, the movie belongs to Lemmon and Matthau, that perfect complement of treacle and acid. [02 July 1997, p.D01]

A smart comedy that serves as both bittersweet coming-of-age tale and '90s nostalgia piece, The Wackness has the feel of authenticity about it, even if some of its details (the ice cream cart, and the therapist's bong, for two) seem a bit much.