It's an uncompromising movie that illustrates one of the most convincing personality transformations that I have seen in a recent motion picture.

A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.

Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.

This is one of those nearly unwatchable movies that becomes an endurance contest for any thinking adult.

What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.

Light, funny, and clever.

The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.

Ambitious material for a first-time directorial outing, but, even with a huge assist from his lead actor, Malkovich doesn't nail it.

Visually, X2 is a sight to behold, with impressive special effects and a dynamic sense of place.

Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.

What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.

Light entertainment, this is not. Unforgettable and challenging cinema, it is.

It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.

The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.

When it comes to mockumentary parodies, no one does it better than Christopher Guest.

Essentially a one-joke movie that milks its central conceit long after there's nothing left.

Typically, movies aimed at teenage audiences have little concern for things like intelligent scripts, credible characters, and meaningful dialogue. Better Luck Tomorrow contains all three, making it a hugely rewarding experience.

A thoughtful, almost poetic, piece that puts forth the argument that redemption is not easily achieved.

The Man Without a Past is a modern fairy tale. It certainly is divorced from reality. Despite this -– or perhaps because of it -– it's a satisfying motion picture.

The best pure thriller of 2003 to-date.

Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.

Lovers of drama featuring quirky characters will find things to appreciate.

So howlingly awful that it has unwittingly found a place in that elite group of films that can claim to be "so bad they're good."

Like "The Apostle," it exists off the beaten path and will not satisfy mainstream viewers. Yet, for those who do not demand a firm adherence to formulas and genre-driven expectations, this movie offers the chance to see something a little different.

Comes across as a cheesy, fundamentally unsatisfying experience.

The key term here is "fairy tale," because, although the movie occasionally tries for dramatic moments, they're overplayed, undercooked, and divorced from reality.