Zany screwball farce.

Lush. Debauched. Ravishing. And did I mention sexy?

Hilarious fun.

Relationships - between men and women, fathers and sons - are more complicated in real life, and The Boys Are Back deftly acknowledges that fact.

The Signal is a road movie turned upside down and inside out.

Despite its familiar formula, feels fresh.

A good-natured comedy of errors from Belgium, should elicit smiles, if not belly laughs.

Serrill has shot and edited The Heart of the Game in straightforward documentary style, with a narration by the rapper and actor Ludacris. But the dramas going on here, on and off the court, more than make up for any lack of flash.

The country goes unnamed, the warring factions aren't always clear, but the nightmarish exploitation of children is made specific in the most vivid, visceral ways.

Stiles is lovely, forthright and believable, so much so that when the scene shifts back to storybook Denmark (actually shot in Prague), she grounds this fluff in recognizable reality.

Has two or three booming and intense action sequences that may leave the littlest audience members more quaking than charmed. But the notion of having a pet dragon - just like a pet whale, or a pet lion - is a scenario that should appeal to children of all ages.

The contrast in lifestyles is striking, and I suppose one of the themes that Babies is trying to get at is that despite chasm-wide economic and societal differences, infants are really all the same.

It's a character study, nicely realized.

Often ingenious, funny and unnerving. [14 Oct 1994, p.14]

It's the kind of film -- like Diane Keaton's "Hanging Up" -- that even as it dissolves narratively, still makes you dissolve emotionally.

Goosebumps fulfills its purpose, and that's what matters.

Among contemporary films, fans will recognize extensive borrowings from Terminator and Alien. But Donaldson makes sure we wind up with something more than Alienator: Species shrewdly manipulates some very modern fears of deadly sexual infection and touches a paranoia unimaginable back in the '50s. [07 July 1995, p.03]

A sharp, intricate political drama.

Like Johnny's rants, Naked is a revelation, a parable of spiritual homelessness and the terror it engenders.

An exceptional film -- unpacks long-buried suitcases, both figuratively and literally.

Not only is there no magnetism between Fiennes and Lopez, he's a lead balloon and she's helium-filled. Happily, their odd chemistry doesn't sink this fairy tale.

Overplayed by a toupeed'n'tucked Pacino, Bank is made up to resemble Hollywood mogul Robert Evans, who produced Pacino in The Godfather. It's an inside joke for outsiders. As are the many references to the Corleone family saga.

More on-the-money than Nine to Five and a refreshing change from the Armani-clad piranhas of Wall Street, Clockwatchers contrives the rare feat of being both funny and depressing. [12 Jun 1998, p.14]

For a comedy about autoerotic asphyxiation, epic deception, and shameless exploitation, World's Greatest Dad is a surprisingly sweet and tender affair.

A pessimistic chronicle that even optimistic 8-year-olds can love.

Story and collaborators succeed in making a courtship comedy that will entertain women and amuse men.

It is understatement to say that Nicholson does some of the finest work of his career here, easily equaling "The Shining" for gargoyle monstrousness and "As Good as It Gets" for tortured humanism.

The problem with The Perfect Storm is that while its roiling collision of weather systems is pulled off with cinematic deftness, the actors who stand there getting lashed and splashed don't have anything terribly interesting to say.