Despite some missteps, this version of “Mean Girls,” especially in its reframing of Janis, promotes feminism and inclusion almost as fervently as “Barbie” — although its characters still only wear pink on Wednesdays.

A workmanlike effort -- a precision piece of filmmaking that provides education for children and a refresher course that adults can benefit from as well.

It's a resplendently basic, lovey- dovey and inside-out "King Lear."

It's more interesting than it sounds. Besides the sheer spectacle, which is notable.

The schmaltz is relentless in The Legend of 1900, the newest film from "Cinema Paradiso'' director Giuseppe Tornatore. It comes in waves, it leeches onto every surface and it turns decent actors into sticky-sweet fuzzballs.

The film is a particular disappointment considering its pedigree.

A neo-noir thriller long on atmosphere and short on production values.

Good looks and brutal action can’t hide the fact that the film traffics in Italian stereotypes with the same impunity as simplistic notions of good and evil.

If you loved the earlier films, these are moments you will hold on to, but they're very few, and they're not enough.

Gets back the mood, the pleasure and even some of the freshness of its first installment.

What happens is important, but more important is how it happens and whom it happens to.

Impossibly thin, porcelain-skinned Joanne Woodward exuded the perfect blend of vulnerability and confusion -- and sassiness and sex appeal -- in her demanding lead role (make that roles) in Nunnally Johnson's The Three Faces of Eve. [24 Oct 2004]

True, the film doesn't need 110 minutes to tell a story this pat, but hey, in dark times, it takes longer to deliver a feel-good message.

Green Card demonstrates that explicit nudity is not necessarily an essential ingredient in creating an erotic atmosphere, but that it does take a director's sensitive understanding of the various ways in which emotion creates desire. When that understanding is combined with a sense of the human comedy, it's cause for celebration. [11 Jan 1991, p.E1]

The Hummingbird Project — is at once an offbeat comedy and a satisfyingly weird thriller.

I lost patience with a widow who is grieving one month and then making out with a guy in a bar the next. This is an emotional recovery even Hamlet's mother might have found unseemly.

The Seagull has all the big things going for it and yet so many little things going against it that it’s just not the movie it might have been.

An impressive and imaginative fantasy.

There’s still plenty of laughs left over for the audience, and the aggressive randomness of the script fuels some genuinely inventive comic moments. Although the writers of this R-rated cinematic binge frequently lose their focus, they never lose their sense of humor.

As a first-time director, Pearce manages something difficult. He creates a tone that acknowledges absurdity, but also consequences. He finds an edge that’s extreme, that’s weird, that’s satirical and that goes right to the edge of farce, and yet the movie is at all points as involving as an intense drama.

Has a certain B-movie integrity -- a muscular commitment to grabbing the viewer's eye and keeping things moving. It won't win any awards, but it holds interest.

It is not merely a thriller but a shocker. It will separate hard-core Jet Li followers from the fair-weather fans.

When all is fretted and done, there's little dramatic payoff in this moody first feature by Bart Freundlich. But cinematographer Stephen Kazmierski's images are appealing, and the mood is on target -- Thanksgiving as hell.

In addition to being extremely funny, the film has a warm spirit and respect for the characters.

The fact that the movie has to entertain with digressions is an indication of more than looseness, but rather a shoddiness...Nothing connected with the job is of any interest at all.

A potent reminder that these characters and the actors who brought them to life will never return again. Seeing the very end of an endlessly hyped trilogy somehow puts a lump in the throat. [Special Edition]

The movie as a whole is a mixed bag, offering up stiff shots of skepticism and a few provocative thoughts on correlation and causality.

One can almost feel the movie Away We Go might have been, if only we could believe that Verona loves Burt - or understand why Burt loves Verona.