A work at once detached and thrillingly intense, an experience where intellectualizing turns to a raw emotion so overwhelming, unexpected in its power, that you sit in your seat as the end credits roll, unable to move.

Leonardo DiCaprio? Excuse me, Leonardo DiCaprio? I know he makes teenaged girls cry, but, I mean, Leonardo DiCaprio?

It is a visual tour de force, but as a whole the movie slowly deflates into a cross between "Arizona" and "The Hudsucker Proxy".

The script, by director Richard Kwietnioski and adapted from the Gilbert Adair novel, is poignant and well constructed.

I like that Sheridan's girlfriend works at Starbucks. Snipes plays the part with the kind of high energy that large doses of caffeine would explain.

Hush, which is an absurdly bad mixture of "Rosemary's Baby" and any Bette Davis movie from the 1960s, seems to be a classic case of a grasping mother trying to possess her beloved son.

A smart, funny and endearing movie. It has enough cynicism to satisfy the part of DiCillo that would mock a blue-eyed superstar, yet enough genuine sentiment to make it possible for us to swallow the cynicism.

It's full of visual flash, and can be enjoyed as a giddy ride, but you would waste your time trying to puzzle out the nuances of the story.

The script, based on British pulp writer James Hadley Chase's novel "Just Another Sucker," is a muddle, and no actors, no matter how compelling or talented, could make its silly dialogue work.

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?

The considerable appeal of this movie has to do with its roots in those nice, comforting love stories of the 1930s.

A counterfeit of a Woo movie, even though Woo himself co-produced it.

Nil by Mouth is slow to get going, and meanders before its impact scenes in the second half. Still, its final intensity can leave you exhausted. If you stay with the picture, it's a powerful experience you're unlikely to forget.

The best way to characterize "The Blues Brothers 2000" is as a fabulous concert film with incredibly bad patter between the songs. If you ignore the silly plot that links the extravaganzas together, you'll have a great time.

Handsome, well-acted, well-written and beautifully directed movie.

Fallen Angels is proof that Wong will try anything, and the result is an eclectic mix of images and disjointed editing, sounds and rhythms that are at times as powerful as any piece of filmmaking likely to be seen all year. It can also, every once in awhile, be tedious and trying.

Godawful.

Without much of a plot to speak of and relying almost entirely on the girls' star power and charisma - which they have in spades - turns out to be a truly entertaining movie for anyone with even a bare knowledge of the Spice Girls' history, which in this age of absolute over-saturation, is hard to avoid.

It's fast-moving, it's got fine special effects, the hero and heroine are pure and quick-thinking, the bad people die badly, and the script draws its fair share of laughs.

The real trouble with this movie is that it represents the continuing departure of Almodovar from the chaotic, riotous and anti-social roots that gave his best movies their zest.

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.

Most disappointing is the fact that the movie ends so abruptly that you can't help wondering what the whole story amounts to, moving as it is.

While Blanchett glows with intelligence, passion and a quirky kind of beauty, the movie she is in fails her in a number of essential ways.

The comedy-drama is worth seeing for Christie's performance as a former B-actress married to a philandering handyman. She radiates a mature sexuality that's a rare treat on screen these days, and when the camera strays from her, you want to reach over and turn it back.

It's a testament to what happens when all the right ingredients come together. Wag the Dog is the best political satire in years.

Martin Scorsese is certainly one of the great living movie directors. Sadly, this does not mean he can't make a mistake. Kundun is a mistake.

No amount of excellent period costuming and brilliant set decoration can substitute for a good story and decent acting.

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