Miracle is definitely exciting, and it’s family-family to boot. Take the kids. They may not buy the "any dream is possible" stuff, but if nothing else, the story might pique their interest in American history.

The thrills of this movie are aesthetic ones, the creation of new, ravishing imagery (and all three of our young heroes are beautiful enough to be up to this task), the surrender to dream logic, the adoration of the silver screen.

Given that the B-to-Z movies parodied in Cadavra were funny to begin with, it begs the question as to why writer-director-star Larry Blamire and company bothered. I think they’re not so much nostalgic for this type of movie as they are for the kind of laughter it provoked.

Unfortunately, the reach of The Return exceeds its grasp, and so this film of gruffly beautiful images didn't put a hook in me the way Zvyagintsev so ardently seems to want it to. [March 2003, p. 27]

The beauty of You Got Served is that it delivers the moves from every vantage point.

What On the Run has going for it: solid acting, taut editing, smartly economical dialogue, an elevatingly reverberant score, and a rousing vitality that left me salivating for The Trilogy in full.

It is a cute, silly romantic comedy, with little suspense and nothing particularly new to add to genre.

The ending of Teacher's Pet, like the rest of the film, feels a bit rushed. Then again, the movie is geared toward a population with small attention spans and smaller bladders.

The whole film, in fact, feels slapped together and unfocused. Though the movie’s too dopey for anyone older than ten, there are scenes where characters drink and go skinny-dipping.

Cheaper entertains a broad audience by recalling an age of family filmmaking when that term wasn’t synonymous with crap.

Paycheck is a bogus journey.

Ramshackle one minute, pointlessly deliberate the next.

Proves more irksome than moving.

Director Mike Newell strips away facades and keeps this movie singing to the feel-good ending where everyone learns a life lesson by graduation time, whatever their choice may be.

Ben Kingsley and Jennifer Connelly create characters that live and seethe with absolute credibility, and Ron Eldard’s Lester is a subtle portrait of a good man who lets himself go bad, first out of boredom, then out of erotic fixation.

Everyone involved figured that sentiment trumps sloppiness. Original Soundtrack

A phantasmagorical slab of epic entertainment that satisfies on every conceivable level.

The film is well-paced and surprisingly suspenseful.

As a thriller, The Statement is relatively disappointing, but as a moral study, the movie proves far more promising.

Frances McDormand, as Erica’s younger sister, flourishes in her few minutes of screen time. She’s flinty, ferocious, and purely hysterical.

It may not be saying much, but what keeps this movie afloat, aside from solid performances, is the nearly sophisticated dynamic of an otherwise redundant punchline.

Big Fish really is a big delight.

Sticky, saccharine, bordering on diabetic, Honey overindulges.

Depends on how you're feeling about Tom Cruise--as opposed to the character he's putatively playing.

With the careful timing and nuance of a master actor, Sharif turns a two-dimensional sketch into the film's most absorbing character.

Alice has all the emotional truth of an America’s Most Wanted reenactment.

At best, this movie functions as a brief companion piece to Boy George's new Broadway show, “Taboo.”

With My Flesh and Blood, Karsh finds a worthy subject in the constant day-to-day challenges facing a truly extraordinary family.