A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.

Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.

Not only was I touched by the characters and engrossed by their story during the 120 minutes they were on screen, but I could have easily spent another hour or two with them.

Although the storyline is predictable, the intelligent dialogue and top-drawer acting more than make up for the possible deficiency.

It's an excursion into a melodramatic morass that occasionally becomes difficult to sit through because it's so cloying.

An effective character study of a figure who has attained an almost-mythical status among track-and-field followers.

It's amazing how boring an action movie can be when there's absolutely no point to all of the sound and fury.

Too often, the film is more like a soundtrack with visuals than a well constructed, fully developed motion picture.

By the time the film is well into its second hour, we begin to wonder whether there's ever going to be a variation on the carnage and mayhem. As it turns out, there isn't.

There are times when, as diverting as it can be, Next Stop, Wonderland feels like a lengthy prologue to an as-yet unmade film.

As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.

Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.

This film is an absolute mess.

Many times, films that combine comedy and drama do so in an uncomfortable and unwieldy manner. In Slums of Beverly Hills, the approach is natural and satisfying.

For once, with How Stella Got Her Groove Back, Hollywood offers a love story that concentrates on the simple nuances of the romance rather than smothering us in an overly- melodramatic narrative featuring old boyfriends, jealousy, and hard-to-swallow misunderstandings.

The film's ending is a little unanticipated, and, although there are a few too many surprise revelations in the last 20 minutes, they all work reasonably well to enhance, rather than diminish, the central theme.

Mixed together, all of this makes for a fascinating viewing experience, but the unfortunate ending diluted my enthusiasm for the film as a whole.

H20 is the second-best entry into the series, and, although it's nowhere close to the level established by Carpenter's classic, it avoids the excesses that ruin many would-be horror movies.

When I watch a comedy, I want it either to present endearing characters in fun situations or to make me laugh frequently. BASEketball accomplishes neither objective.

Tennant takes this familiar material and crafts a charming, captivating motion picture.

The Governess is solidly entertaining material with enough substance to lift it above the traditional period drama.

While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.

Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.

For those who are willing to brave the movie's shocking and unforgettable images, Saving Private Ryan offers a singular motion picture experience.

In many ways, the concept underlying Lolita is more provocative than the actual material, which tends to be a bit long-winded. This is more the fault of the book than of Lyne's approach.

A great deal of excitement and adventure, all brought to the screen by using a somewhat irreverent tone that keeps the mood light without trivializing the characters.

[The film] occasionally had me convulsed with laughter.

For anyone who wants a movie to feed their intelligence and imagination more than their eyes and ears, Pi is a solid choice.