In spite of how hard everything is to believe, you believe what Damon is doing.

Because the movie is otherwise so well made and so full of sweet emotion and "good" values, I was happy to ignore the shortcomings.

You would think Towne would identify closely with a big young talent who flames out too early. But when Pre turns to Mary and says, "I can endure more pain than anyone I ever met," it seems forced, empty. Towne just doesn't capture his subject.

An amusement park special, screaming from start to finish with no brakes, no plot and no acting to speak of.

Offers nothing new, and a lot less. It's a hollow shell of a film, rife with plot twists that go nowhere.

If only it wasn't such bloody nonsense.

The acting and writing is a cut above the ordinary.

Dead Man on Campus, a supposed black comedy produced by MTV, is simply awful.

In a way, The Eel is very much like Black Rain, and nearly as great. Both deal with an emotionally shattering aftermath, and both question mankind's ability to overcome its many weaknesses.

The movie is a dismal and misguided special-effects romp featuring two of the deadest performances recorded this year so far.

Her first feature, a semi-autobiographical coming-of-age comedy, is a nicely directed, well-written debut.

It's a fun movie - full of laughs and touching moments.

This movie has a first-rate script, and director Joseph Ruben ( "True Believer," "The Stepfather" ) knew exactly what to do with it.

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

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.

Crude, stupid and unfunny.

Tennant and company do a fine job of retaining the otherworldliness of a fairy tale while at the same time explaining all the archaisms for a modern audience.

Sandra Goldbacher, writing and directing her first feature, is a sure-handed filmmaker. The movie is a tableau of sensuality.

Lindsay Lohan, 12-year-old veteran of commercials and television, is a frighteningly poised child who is truly impressive as the long-separated twins.

When the mystery is unraveled and the frame-up is revealed, I, personally, had no idea what anyone was talking about.

The effect is riveting and frightening. You feel you are under siege with the combatants.

A slew of writers and an enthusiastic cast all do their jobs admirably enough to provide a couple of hours of unembarrassing entertainment.

A supremely silly movie, which means that it has moments of boring idiocy mixed with moments of inspired hilarity.

Pi will not be for everyone, but for those who are fed up with the mainstream idiocy that gets dumped into theaters each summer, this movie willbe like a great big palate-clearing taste of sorbet.

I think the script by television writer Channing Gibson (no relation) is the funniest of them all.

The movie is an ill-advised work of egomania by someone who clearly has some talent, but not as much as he seems to think.

The talented Murphy is appealing here, performing with sincerity and restraint - a wise choice, since his co-stars are a menagerie of wisecracking animals.

Out of Sight needed the energetic and stylish hand of "Get Shorty" director Barry Sonnenfeld. Instead, a sad-sackish Soderbergh ( "sex, lies and videotape") comes at this material looking as if his mind was on something else, something much, much more depressing.