A tepid disappointment that contains one mediocre chase scene and a lot of wasted talent.

So heavy-handed and blatant in its posturings and so incomplete at 73 minutes that you simply feel like you've been harangued more than educated.

The film is still a wonderful lark filled with an ingredient most summer blockbusters lack -- likability.

So tedious that the experience results in nearly two hours of squirming and cringing.

It is off-putting at first, then refreshing, then downright touching. In short, it works.

Never dull visually, but it's certainly monomaniacal and heartless thematically.

Moves with terrific energy, alternating riveting action sequences with intimate material in a manner that's pure Woo.

If you've seen more films in your life than you have fingers, much of it will be forgotten by the time you floss the last popcorn skin from between your teeth.

Although Lloyd's performance (reminiscent in mannerism to Haley Joel Osment), sometimes drags, it's the only real defect in a surprisingly effective film that doesn't stoop to offer easy answers.

Ullman and May make something intermittently memorable of an otherwise minor film.

Silly, simple and sophomoric -- and also intermittently hilarious and, surprise of surprises, directed with unexpected craft.

The chief problem with Shadow Boxers is that it's too short.

If it happens to lose you as you wander through this strange land, at least it does so to the accompaniment of captivating visuals and music.

A ghastly, unappealing mess that lacks a single absorbing character, engaging story line or entertaining snippet of dialogue.

For all its handsome decor, tasteful restraint and old-fashioned look-and-feel, is a stiff, lacking tension, sizzle, drama, energy, appeal and, finally, purpose.

Basinger herself doesn't have the vibrancy of a female hero.

A contrived and sentimental melodrama, the film takes a promising premise and crushes it with mind-numbing repetition, sophomoric conveniences, plastic acting and the worst score, perhaps, ever heard.

Frequently gory, often talky, almost always watchable, never quite thrilling, Gladiator is a cold and big film that mixes solid acting with cheesy digital effects and sweaty action with stultifying chatter.

It's not an art film. The movie is as mainstream as it gets -- which is just fine; the picture is both great fun and gently satirical.

Peter Facinelli, as Bob, isn't up to verbal sparring with Kevin Spacey just yet.

You need to accept the fact that practically everyone in the picture, particularly the leading lady, is a boneheaded nitwit.

The star, though, is the script, a rare enough occurrence in Hollywood that it merits special note.

May not carry great emotional or intellectual weight, but, in a slim and fetching way, it's peachy.

Cute and funny, with plenty of slapstick and cuddly creatures for the kids and enough adult wit to keep parents reasonably amused.

An audaciously unique and exciting film, not as successful as an A-to-Z story as it is mind-expanding as a vision of what the cinema can do.

Had Williams chopped away more pointedly at the rambling script, he might've had something memorable.

Icy and elegant, complex and gripping.

There's enough caustic wit, romance and dizzy whimsy to make The Last September, if not deep, at least diverting.