The best scenes are of people talking -- and that's not just because the lines are so good. Roos doesn't seem to know what to do with his characters when they aren't blabbing.

Disappointing, pointless and repetitive.

Beatty has fashioned a hilarious morality tale that delivers a surprisingly potent, angry message beneath the laughs.

An overblown action monstrosity with no surprises, no exhilaration and no thrills.

It says something about this movie that Redford is at his most compelling playing opposite a nag.

On the surface, it's a mystery in which someone is going around stealing personal items, and the women are suspected -- and suspect each other. In a larger sense it's about how corporate culture is not only antithetical to individuality and human kindness but also hostile toward these things.

A spirited adventure with generous romantic and comic charms.

To its credit, the movie eschews cheap dramatics, but at times it eschews dramatics altogether.

Aspires to the breezy esprit of a Richard Lester comedy from the '60s, but it's a deadly, leaden affair.

He Got Game seems to cheer for integrity, honesty and hard work while playing up its own cheap thrills.

While Wilde captures its subject's singular charm, it ultimately doesn't do justice to his complexity.

This latest, from director Bille August, is merely respectful and respectable. It never sinks, but it never really soars either, though here and there it hits a powerful moment.

No doubt this seeming effortlessness was hard-won. Movies this smooth don't happen by accident.

Score it big-time inane but a load of fun.

Object to the picture on ideological grounds, if you like, but that's no way to watch movies. Better to appreciate the rare spectacle of a filmmaker leading from his gut.

Much of that appeal comes from compelling performances by the two main actors.

It's an amazing actor who can carry a movie by simply sitting calmly in a chair. That's what Christopher Walken does in the comedy-thriller Suicide Kings. He's so good, one hardly blinks.

It's rough when it works and rough when it doesn't. Much of the first hour is made up of slow patches, while the last 20 minutes are ugly and terrifying.

A feeble excuse for a movie.

An odd hybrid but a successful one. It marries the lyricism and heavy atmosphere of a European art film with the soaring spirit of a Hollywood love story.

Pathetic yet stupidly entertaining for several minutes of its interminable running time, 3 Ninjas: High Noon at Mega Mountain makes half its cast look like retreads and half like fresh ponies desperately karate-kicking a dud script to see if it has any signs of life.

Sonatine eliminates the one virtue American action films can legitimately claim -- vitality -- and replaces it with fake- existential claptrap wrapped in an inept narrative.

The story of an elaborate con game and the wholesale betrayal of an innocent man, it's also an unusually cold film that ends with a feeling of hollow soullessness.

A wild ride through nonstop visual effects yet a warm wallow in the cinema of the dumbed-down.

Mercury Rising is a Bruce Willis action movie, which means that most of us know what it will be like going in, and the only question is whether it's a good one or a lousy one. Answer: This is a good one.

The film is a fairly happy excuse to give the beloved dinosaur some room to do what he likes best -- sing kid-friendly songs and peddle a twinkly message that imagination and kindness are good things.

Director Richard Linklater ("Dazed and Confused") should have taken a cue from the music -- the film needs a lot more snap.

It's amusing in a trashy sort of way.