A clumsy motion picture that strives so hard for the perfect romantic ending that it triggers a gag reflex along the way.

It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.

Disney has struck once again, taking a passably entertaining cartoon and turning it into a motion picture so lifeless that it's almost unwatchable.

Although the satire is biting and the tone is irreverent, Drop Dead Gorgeous lacks the killer script and top notch performances necessary to make this a wholly successful production.

This film makes the common mistake of showing in great detail things that would be more terrifying if left to the imagination. As a result, the only thing disturbing about The Haunting is how discouraging the end product is.

A pleasant but relatively inconsequential movie.

In terms of power and effect, Eyes Wide Shut approaches (but does not surpass) Kubrick's vintage work - it is thought-provoking and unsettling.

Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.

A bunch of IQ-challenged characters traipsing through a laughably bad scenario brought to life using silly dialogue, banal direction, and questionable special effects.

The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.

It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.

Wild Wild West isn't just a bad adaptation of a TV series; it's a bad film.

An agreeable, albeit uneven, experience. Parker should take note, however, that, in some things, size doesn't matter and bigger doesn't mean better.

There are times when the comedy works, but the number of genuinely amusing sequences are outnumbered by those that, in trying to generate laughter, simply seem silly.

Go to this movie for the cheap laughs and bodily fluid jokes -- those are its strengths.

From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.

The General's Daughter is for all those who enjoy mystery/thrillers that neither attempt to break new ground nor are afraid to employ familiar plot devices.

Has as much depth as it has energy and action.

The ensemble cast is diverse and accomplished, but, because of the time constraints, no one has enough time to register much of a positive or negative impression.

Too much of what The Spy Who Shagged Me has to offer is tired and derivative, and, when the various jokes and gags are tallied, there are many more misses than hits.

A perfect example of how solid directing and good acting can almost redeem a derivative story.

For a while, Limbo seems like it might be a slow-burning romance and tale of redemption, but, as is often the case, Sayles takes his audience in unexpected directions (unexpected because they defy comfortable, traditional narrative routes).

Notting Hill does an adequate job, but this isn't one of those landmark romantic comedies that dozens of subsequent movies will seek to emulate.

The Thirteenth Floor shows what can happen when film makers fail to recognize that they need more than a concept to establish a full-length motion picture.

The Loss of Sexual Innocence is not a masterpiece (at times, its obtuseness can seem ponderous and pretentious), it is nevertheless a fascinating experience, with the focus being on the artistic elements inherent in the medium rather than on the narrative.

This is not a masterpiece, but it contains moments of rare beauty and its contemplation of life, death, regret, and memory has a subtle power.

Not a masterpiece, but it's an example of how imagination, craftsmanship, and technological bravura can fashion superior entertainment out of something that is far from flawless.

A thoroughly enjoyable piece of cinema that does credit to its director and cast.