This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.

This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.

Like a time-travel movie, but without the time travel, The Mothman Prophecies delights in playing with cause-and-effect relationships.

There's nothing remotely memorable about this walk.

If you've gone to Kung Pow for the plot, you have made a mistake. Come to think of it, if you have gone for the comedy, you've also made a mistake. In fact, if you've gone at all, you've made a mistake.

An engaging romantic comedy that would have been better if the audience wasn't constantly being distracted by mediocre video quality and jerky camera movements.

Were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.

Never pretends to be something that it isn't. Oh, there are costumes, to be sure, but that's just to facilitate the setting of the 18th century. Anyone who mistakes this for a costume drama is not aware of what kind of film they have ventured into.

As a video rental, this film will probably play a lot better than it does at the local multiplex.

One hell of a ride. For better or for worse, it will leave you stunned and reeling.

From a purely technical perspective, Charlotte Gray is expertly made -- the cinematography and music are evocative, and lead actress Cate Blanchett has no problem holding our attention. But, while Armstrong gets the notes right, she fails to play them with inspiration.

This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.

Manages to entertain, even though it stays on the surface. It fails to deliver the hoped-for knockout, but also avoids the pitfall of an early-round collapse. While not attaining the greatness of its subject, it rises to a level somewhere above mediocrity.

The kind of expression of emotion that touches a deeper chord.

It's a powerful, affecting tale that uses scenes of the young couple's new love as a counterpoint to Iris' final days - memories of a brightest spring echoing in the darkest depths of winter.

For the briefest of moments, someone not paying attention might mistake Lantana for a mystery. -- Lantana is actually an examination of human interaction.

Happenstance represents an intriguing meditation on the unseen forces that no one can escape.

Apocalypse Now is one of those flawed films that contains enough masterful sequences to compel a viewer. Redux is merely a curiosity, and of interest only to those die-hards who believe this movie to be one of the greatest pictures ever to be projected in a theater.

The story is overly familiar and the characters are all types, but Cohen's cinematic techniques make The Fast and the Furious watchable.

Perhaps the most impressive aspect of Green Dragon is Bui's recreation of Camp Pendleton, circa 1975 (filming actually took place in Camp Pendleton).

The screenplay is written with a thinking audience in mind, the dialogue sparkles, the characters leap off the screen in full three-dimensionality, and the cliches are kept to a bare minimum.

Woo is in fine form, employing every weapon in his considerable arsenal: slow motion shots, billowing clothing (scarves, loose jackets, the dresses on flamenco dancers), pigeons taking flight, lots of martial arts/WWF moves, and a fluid but constantly-moving camera.

Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.

There's nothing special, shocking, or precedent-setting about the film, but it functions on a level that 007 fans will appreciate - as eye and ear candy for those who prefer action to exposition and character development.

We're stuck with contrived plot contortions, dull interpersonal interaction, and unconvincing dialogue.

Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.

Wheeler is extremely secure in filming the sex scenes - they are inarguably erotic - but she has trouble with serious drama. Overall, that makes Better Than Chocolate a mixed bag with a wavering focus. In many ways, it's like the majority of heterosexual romances -- not unpleasant or unwatchable, but nothing special.

This new interpretation does few things better than the original, and many things worse.