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.

This movie isn't afraid of venturing into the realm of bad taste -- in fact, it revels in it.

A fair amount of the film, especially Downey's solo sequences, appears to have been improvised, and this lends an air of unpredictability to the proceedings.

As Nina, Aniston not only displays a surprising capacity for both comedy and drama, but she shines with the kind of star quality that only a handful of current performers exhibit.

For those who aren't offended by extreme profanity and violence, Suicide Kings offers a kinetic and surprisingly funny two hours.

If not for Bornedal's stylish approach to the material and a couple of effectively chilling sequences, Nightwatch would have been a complete waste of time and effort.

I suspect City of Angels is going to remind many viewers of “Ghost,” but there's a big difference: this film is more true and less manipulative.

The only thing that distinguishes Species 2 is how awful it is.

The Spanish Prisoner is for anyone who likes to think and feel along with the characters.

The story is unfocused and the character development is virtually nonexistent.