Gallo's script is quirky and filled with a number of hilariously strange comic moments.

Offers the prospect of seeing beyond the stereotypes that plague Native Americans in even the best films.

It's a cloying, humorless motion picture whose only assets are the work of Jim Henson's Creature Shop and a couple of good one-liners by a pair of rodents.

Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.

Mulan effortlessly blends serious, comic, and cute elements into a whole that should entertain the majority of movie-goers, regardless of race, gender, or age.

Offers two hours of solid entertainment.

This film is the complete package, and offers a thoroughly satisfying two-plus hours in a darkened theater.

Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.

I suppose High Art is as good a name as any for this pretentious melodrama, an often- diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance.

All that's missing from Ivan Reitman's Six Days, Seven Nights is a plot with a moment's originality.

An appealing, offbeat, one-hundred minute diversion for those who really are tired of monsters tearing down buildings and action heroes saving the world.

A Perfect Murder has inexplicably managed to eliminate almost everything that was worthwhile about "Dial M for Murder," leaving behind the nearly-unwatchable wreckage of a would-be '90s thriller.

The writer/director may have a deep understanding of his material, but Mr. Jealousy doesn't offer anything original or remarkable, and, while what the film is saying often strikes a responsive chord, that alone isn't enough to earn it an enthusiastic recommendation.

Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.

An insipid, stillborn drama that drags its viewers through a ghetto of despair before finally, unexpectedly plopping them down in the midst of a happy ending.

There is a reason why books are books and movies are movies, and Fear and Loathing in Las Vegas makes a pretty good case that the two don't always mix.

The kind of daring feature that doesn't open every Friday at the local multiplex; its frank, sometimes politically incorrect approach towards the act and politics of sex is refreshing.

It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.

The script isn't just "dumbed down," it's lobotomized.

A film as rich in its visual presentation as it is in its emotional resonance.

Clockwatchers offers a perspective of the American corporate office that is both viciously satirical and depressingly accurate.

Those who are more discriminating than the average 9 year-old will discover that The Quest for Camelot rapidly grows tiresome. Consequently, any adult on a search for the holy grail of animated pictures is advised to keep looking.

Unfortunately, an A-list group of actors doesn't mean a lot when there isn't much of a script.

This is essentially a familiar story told with consummate skill.

The film is preposterous to the point of distraction, where the necessary level of suspension of disbelief exceeds the capacity of a normal, thinking person.

Ultimately, while Wilde lacks the depth and substance of the best biographical features, it's nevertheless a strong enough contender to deserve a trip to the local theater.

While this version of Les Miserables lacks the cleverness and contemporary spin evident in Claude Lelouch's brilliant 1995 re-interpretation, it is moving and effective in its own right, as a more "straightforward" adaptation.

One of its most obvious strengths is that it can satisfy many different types of audiences -- those who demand something substantial from their motion pictures, and those who could care less.