Besson may have misfired with The Fifth Element, but at least he does it with flair and a sense of humor.

Travesty.

There are times when Austin Powers drags. It can be difficult to sustain even the best humor for ninety minutes, and this film, for all of the laughs it offers, is far from the best.

Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

Are French films stuffy? At times, yes, and that's one of many reasons why even the most "accessible" French movies are relegated to art cinemas in this country. Irma Vep gleefully defies such facile labeling, however. This is a sly, sexy endeavor that presents its audacious viewpoint with style and intelligence. Irma Vep features some wonderful performances (notably those of Cheung, Leaud, and Richard), that, in concert with its sure direction and smart script, make for a wholly satisfying motion picture.

One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.

In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.

Expectedly lowbrow and grotesque, but there are some truly inspired moments.

There's hardly a single aspect of this motion picture that seems more than superficially credible, and if the United States government is really run in the Keystone Cops manner depicted in Wayne Beach and David Hodgin's script, then this country is in a great deal more trouble than anyone suspects.

The script is smart and sneaky - by never telling the audience more than is necessary, it develops a keen sense of suspense that persists until the gritty final reel.

A bleak, black satire that occasionally strays all the way into "Pulp Fiction" territory.

The biggest flaw can be summed up in a short phrase: lack of excitement. Thrillers are supposed to be crammed with thrills (hence the name), but Anaconda is relatively barren of them.

This is a film for anyone who prefers to leave the theater smiling.

The exceptionally strong cast showcases American, British, and Australian actresses, all of whom show an astonishing willingness to appear in physically unflattering circumstances (no makeup, hair and skin caked with drying mud).

Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.

Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.

The Saint is more of a character-based thriller than a strict stunts-and-explosions film, which is a good thing because the action sequences are mostly flat and obligatory. Even when he generates a degree of tension, director Phillip Noyce (Patriot Games, Clear and Present Danger) is unable to sustain it, and the disappointing ending is not only long and drawn out, but lacks a sense of closure.

Your reaction to Double Team will probably depend largely on how you feel about concussive action films. While this one is better than most, it still falls considerably short of what I consider to be a "good" movie. One thing's for sure, though: like most flicks that boast more stuntmen than cast members, Double Team is unlikely to function as a Sominex. You may not enjoy it, but you won't fall asleep. And that's the best thing I can say about this loud, brash, ultimately pointless morsel of eye candy.

Part of the reason The Devil's Own is endurable is because, in spite of various script deficiencies, both of the stars -- Pitt and Harrison Ford -- have an undeniable screen presence. And, while star power can't save a sinking movie, it can at least keep it afloat longer.

This is a simple story of hope and triumph, of one girl with the drive to succeed defying the odds and following her dream. It's not an original tale -- movies like this abound -- but Nava's point-of-view is fresh.

Carrey is forced to confine his antics to the needs of Liar Liar's unimaginative screenplay, and the results are mixed.

Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.

Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.

Aside from a powerful performance by Ron Rifkin (reprising his stage role) and a few quietly effective scenes, there's not much reason to subject yourself to a film this off-putting.

Anyone who enjoys well-executed romances will find a lot to like about this film, but it lacks the strength of originality evident in those movies that inhabit the genre's top echelon.

The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.