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.

An incomplete memoir with spotty character development, but, in part because of the way it was filmed and in part because of the strength of the cast, it's still an effective entertainment.

Even had it possessed a less intelligent script, After Life would have been intriguing on the basis of its central conceit alone. However, with Kore-eda's skillful hand behind both the camera and the pen, the result is a rewarding cinematic experience.

In the end, it's the self-mocking aura that save this film from being a waste of two hours.

There's just one problem: it's not scary and it's not funny...Idle Hands transcends that mundane level of badness into the realm of gross ineptitude.

A script that, at its best, is inconsistent, and, at its worst, is laughably implausible and riddled with obvious flaws.

Mamet illustrates that he can work as capably from someone else's script as he can from his own, and that his talent as a director is not eclipsed by his ability as a writer.

Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.

Election has the sharpest satire of any teen movie made in years. Like the best lampoons, it attacks by exaggerating reality ever-so-slightly and targeting a broad range of subjects.

Comes across as a lame wannabe - a romantic comedy that lacks the level of outrageousness necessary to elevate it about the countless trite entries into the bloated genre.

The premise is inherently interesting, but the screenplay (by Glen & Les Charles) is unwilling to take chances. Instead, it uses stock events to push events forward.

The film has an undeniable energy, and, at times, it works as light entertainment, but there is a problem. The central character is consistently aggravating.

Imagine my surprise when I discovered that not only is Life funny (and at times downright hilarious), but it also offers a light portion of sweetened social commentary and a sometime-affecting buddy element.

The only worthwhile portion of Twin Dragons is the climactic action sequence, but, to get to that, it's necessary to endure more than an hour of unfunny physical comedy and excruciating verbal interaction.

Fast-paced and often witty, but ultimately vapid.

Saying bad things about Never Been Kissed, an unapologetic crowd-pleaser, makes me feel like the Grinch stealing Christmas, but there are some things that can't be ignored.

Director Philip Saville, working from a script by Adrian Hodges (which, in turn, is based on the novel by Julian Barnes), has crafted a competent, character-based tale, but the issues examined are stale, and Saville is unable to find a way to take the story to a newer, more interesting level

Unremarkable. A more honest description would be to label it as mirthless, pointless, and banal.

As a source of light pleasure and solid laughs, it delivers. This particular cookie may not fill the belly, but it goes down easy.

What sets this apart from its many competitors for teen dollars is that not only does the movie feature a surprisingly edgy and intelligent script, but it offers a group of characters capable of holding an audience's interest for more than 90 minutes.

Kinetic, atmospheric, visually stunning, and mind-bending.

Moments of light comedy keeps the tone from becoming too heavy without sabotaging the movie's dramatic underpinning.