Pretty much everything in this high-space war yarn has been swiped from other, better movies.

The surprise of the movie is that it actually does have a talented director and star. It doesn't begin to make up for the low quality of the story or the numerous other unfortunate elements, but it does suggest little flashes of something that, with more thought, might actually have been somewhat interesting.

Ramis has made a fleet, unself-conscious, eminently enjoyable picture, where one-liners carom merrily like stray bullets, and where there's casual ease, like the drape of a sharpster's trousers, in the rapport between its two stars.

The dirtiest-minded American movie in recent memory -- and an honestly corrupt entertaining picture is never anything to sneeze at.

It's supposed to be visually exciting, but the result is more like a corpse-strewn Gap khakis ad than a triumph of technique. At least, based on the film's grainy texture and amber lighting, it's nice to know that the guy who shot every porn movie released in the '70s appears to be working again.

The plots vary widely in their watchability -- from mildly amusing to stupefyingly godawful.

Almost as degrading as any unmarked video you can buy in the back alleys of Manila, and, in its pseudo-significance and arty pretension, it's a lot less honest. I'm heartily sorry I had to poison an entire evening with it.

Its characters and its nowheresville setting are uncannily realized... It's not a cartoon in any sense, but an honest-to-God movie with some fine, understated acting and a human heart.

Despite all their seamed stockings and Wonder Bras, the Reagan High girls are as far removed from their sexuality as Jawbreaker is from comedy.

When the enchanted crab is the most appealing character in a movie, you know you're in some serious metaphoric hot water.

What really saves She’s All That from being just another why-good-heavens-you’re-beautiful piece of piffle, however, is the way its lesser elements sparkle. The romantic comedy may be predictable, but director Iscove’s over-the-top parody of faux celebrity — by way of Lillard’s gleefully preening, partying, getting-sensitive-for-the-camera ex-Real Worlder — is a hoot.

The most dispiriting thing about Gloria is that it's further evidence that filmmakers just don't know what to do with Sharon Stone.

The Thin Red Line, either by incompetence or willful perversity, dispenses with plot, characterization, dramatic structure and emotional payoffs in favor of the sort of painstakingly composed pictorial diddling that invariably gets critics frothing about the director's "indelible" images.

One of the best American movies of the year and one of the lushest movies in recent memory.

Affliction is a harsh experience, but the harshness isn't a matter of punishing the audience or of the director, Schrader, showing off his toughness: That unvarnished harshness is the very essence of the material.

It's an awfully enjoyable, hip little B-movie.

Millions of people read Harr's gripping bestseller, but Steven Zaillian may be the only one who didn't understand it.

It's as if the whole movie's on Prozac, only in this case the antidepressants are cuteness and romance.

Middlebrow kitsch, but kitsch straining for respectability and therefore without the energy that can make kitsch entertaining.

The General may be the most intimate and matter-of-fact of Boorman’s films. Movies like Deliverance and Excalibur revealed Boorman as a master of scope. The General, which is one of his masterpieces, proves the depth at which he’s working.

Holds us in a state of horrified empathy.

A corny, old-fashioned backstage farce.

A work of loopy, original comic genius.

Outsiders will find this schtick-laden, mildly exciting adventure yarn an inoffensive triviality, while fans will savor one more encounter with Picard, Riker, Data, Worf and the gang, replete with all the well-worn character tics and platitudinous parables about the contemporary world they expect.

Jane Horrocks saves the annoyingly noisy Little Voice.

May not be anything new, but it's still just as shocking.

It's impossible not to be utterly blown away by Pixar's animation.

A movie comedy that manages to be consistently funny without becoming assaultive, and that remains consistently sweet-tempered even at its most macabre, isn't so common that we can refuse this one's modest pleasures.