Unfortunately, structural flaws and a built-in lack of suspense keep it from being nearly as moving as it was intended to be.

The picture is willfully gross, fundamentally stupid and in no way worth the discomfort of watching it. Yet it may be the most well-crafted piece of garbage this year.

Updates a classic premise -- the struggle for personal freedom -- by pairing it with ethical and moral quandaries.

Has unusual visual vitality in a John Cassavetes vein. For the adventurous, it's worth checking out.

Negotiating the role of a forward-thinking woman constrained by family demands and era, Elliott elevates a picture that's lovely to look at but lacking in dramatic impact.

Thought-provoking.

One of the best Hong Kong films of 2002.

Think “Lord of the Flies,” without all the jerks.

A better-than-average follow-up, but Tony doesn't suit up enough.

Our Friend is both a tribute to a friend and to those rare people that are too humble to realize their own wisdom.

Largely and insider's joke.

There’s crafty playfulness to Wohl’s approach, though; dialog can be as killer as Jo’s darkest impulses, and some scenes are drop-dead funny even if they’re about wanting to drop-kick Baby out of your life.

The acting is immaculate; the editing is seamless; the imagery is blunt.

In terms of story and atmosphere and overall feeling, Cars 2 is a brand-new experience - and a distinct improvement.

A legit action movie.

In “France,” Dumont has not created a commentary on modern life, so don’t approach the movie looking for that. He’s made a movie about the consequences of modern life for one person, a portrait of contemporary mores as seen from the inside.

Grows more and more incredible leading up to a twist ending worthy of an O. Henry short story that is as appropriate as it is ridiculous.

Neeson is as earnest as ever, but the movie’s tone is arch. Neeson doesn’t think he’s funny, but the director thinks everything is funny, or at the very least, absurd.

By the end, the 105-minute movie feels another third as long. You’ll probably respect the effort. But you’ll be more than happy to leave The House With a Clock in Its Walls.

The best thing about Strangers With Candy is its relentlessness. It doesn't back off on its absurd humor, doesn't try to make sense and doesn't soft-pedal the characters.

Has to rank right up there as one of the oddest films of the year. But odd in a very good way.

Whatever the numbers and whatever the broader entertainment trends, The Wall proves it’s good when big directors have the flexibility to make small projects.

The story is on the weak side, and many of the jokes are just a bit flat. And yet there are enough cute bits and special-effects surprises that it will probably be worth people's while, especially if they intended to see the movie in the first place. [22 Nov 1991, p.C1]

A handsome, entertaining twist on the King Arthur legend.

The soul of the film is the relationship between mountain-obsessed Mallory and his wife, Ruth, who corresponded in beautifully written letters brought to life by Liam Neeson and Natasha Richardson.

Surprisingly good as a quirky triumph of human spirit.

Ordinary Angels has some of the feeling of an after-school special because it’s a heartwarming movie in which everybody is nice. But it’s more well-made than most. It hooks the audience from the first scene and then builds in tension over the course of its almost two-hour running time.

Suffers from a problem in its rhythm. It's not that its pace is too slow, but that it's too regular, and this lack of syncopation makes it feel slow.