The Phantom is a spiritless affair likely to vanish quickly from first-run screens.

Giving especially good performances are Aniston, Mahoney, McGlone and Burns. Not that this movie is bad; it's just not as great as "McMullen."

A movie that sports more cameos than a "HeeHaw" marathon but not much else.

It just doesn't work.

Metroland is a provocative rumination on how relationships are warped by two people's inability to be truthful with each other.

If I wanted a Nora Ephron cuddle-ganza, I'd rent one.

So phenomenal that Bill Murray can't even steal it. And he tries. So excellent that Murray's MTV progeny Tom Green can't sink it.

What's pleasing about this movie is its enduring adherence to the Bondian ideal.

Eastwood is perfect as the bad guy (a thief) you root for.

Exists as a seldom represented American time capsule, and it's all good.

Director Simon West makes an impressive feature debut in this relentless action-comedy that is, more than anything else, about how funny it is to see hundreds of people exploded, shot, knifed, propellered and burnt to death, and how to land a plane on the crowded Vegas strip.

To enumerate exactly how Bean messes up would be to expose the silliness of this movie, and since Bean's humor is terribly silly, rather, wonderfully silly, there isn't much point in going into detail.

Really just a lurid potboiler.

An army of rolled abs and their owners give the state of American race relations a beginner's workout.

Aiming to keep it real, the cast of the new dance casserole Center Stage sweats spunk.

Unfortunately, the contemporary horror movie has ceased being an individual work full of surprises and fresh manifestations of the Gothic imagination - it has, instead, been reduced to the level of an inflexible, repetitious, ritualistic event.

Nicholson squeezes every wretched drop of buffoonery from this character, and it's distressing to watch him play an easy role for easy laughs.

This is a prodigious something. It's just difficult to say whether that something is good or evil.

This sequel is much better than the original "Under Siege"...The real coup here is the discovery that when you eliminate dialogue, and thus eliminate Seagal's efforts to act in that rather high voice of his, the movie takes on a surprising gravity. When Seagal doesn't talk, he verges on the dignified. It's kind of scary.

Jingoistic politics are not proper or prudent in the pluralistic human society of the 1990s. It's much easier to assuage these baser urges by facing a real nonhuman enemy that just wants to kill you. War is gore. You or them. That message is the real strength of "Starship Troopers," although many may find it morally flawed. No matter, this is powerful entertainment that appeals to our most basic instincts.

The moment this movie began to go wrong, so wrong, was when the word "angels" started working its way into the script, coming out of the mouths of people we are supposed to respect and look to for hope.

A football epic on performance enhancers that may be more flagrantly flawed, more shockingly predictable and just plain cornier than its rickety predecessors.

Ineptly written and shot like a fashion mag, rings hollow throughout. It's a long, long way from "Jules and Jim."

Unfortunately, all the good parts didn't add up to a great movie.

Between fights, the film can't even rely on the luxury of Lindo, Isaiah Washington, Russell Wong, Rottweiler rapper DMX or the scary Henry O as Han's father to make it watchable - the dialogue is wreaking more havoc than Li.

The movie's coda is completely ridiculous and, worse yet, boring.

The Frighteners is a gooey pastiche of Casper, Ghost, Poltergeist, Back to the Future (it's produced by Future director Robert Zemeckis), Ghostbusters, and episodes of Columbo.

The movie is, more than anything else, great fun to watch. The sets and costumes are stunning. The women are beautiful. The men are dashing. What's not to like?