What director Charles Russell ("The Mask") and co-writers Walon Green ("RoboCop 2") and Tony Puryear do right is supply the kind of non-stop action and laconic one-liners we live for in Arnold movies.

This is the old beauty and the beast tale, one that Disney has already done well enough. I guess they had so much fun the first time that they just had to do it again.

Tyler is a find for a director like Bertolucci. She is a blank slate of prettiness with her unadulterated, thoroughbred, long-limbed looks.

Lou Holtz Jr.'s script is a clever, half-serious indictment of television.

Bay has two great assets in Connery and Cage. The special effects give The Rock a James Bondian feel so Connery's wry, world-weary devil-may-careishness looks right at home here.

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

Mangold's vision is bold. There is nothing cutesy or gimmicky about Heavy, which may be why something in its grimness recalls the work of Ingmar Bergman.

A hokey summer entertainment that is full of big machinery, satellite dishes du jour, long embarrassing close-ups and gaps in logic through which large UFOs could hurtle. No need to go into that here. Anyone who might enjoy The Arrival would be impatient with logic.

The whole thing seems awfully familiar, not to say boring.

This movie may not be brilliant, but every now and then it's really funny.

Big swirls of computer-generated dirt, a bickering couple and the dead certainty that the fiancee will leave and the bickerers will get back together. An exciting night out, or what?

Particularly because unlike so many other boring movies one sees, Jarmusch films require many more words to explain the boringness than less certifiably artistic films would.

In the attempt to rein in a cast playing a great assortment of exaggerated types, Schlesinger (who directed "Midnight Cowboy" and "Marathon Man" ) and Bradbury sometimes lose the tone of the movie.

Muddled futuristic thriller.

Despite heroic efforts of four promising young actresses in the starring roles and a nifty premise, the movie is a mess: so incoherently plotted that dramatic tension doesn't have a chance to build.

After more than an hour of fun, the film turns dark as Solanas' mental state worsens. Not only does the brilliant kook wear out her welcome with Warhol, but the portrayal also grates on the viewer.

The movie itself simply misses the mark.

The entire film rings totally fake and the resulting dishonest sentimentality makes you fidget in your seat and count the seconds until the sweet but completely predictable ending.

As titillating novelty turns into tired cliche, the dyke-psycho-killer genre may soon burn itself out, but in the meantime, we have the grim Brit art-film variation on the gruesome genre, Butterfly Kiss.

Most of the time the audience is two steps ahead of the characters.

Of course, turning a novel by Woolrich into a light romantic froth is a little like turning King Lear into a musical comedy. But Benjamin has the right comic touch to pull this off.

It doesn't take much imagination to poke fun at the pitiful special effects, goofy '50s he-man behavior and unintentionally hilarious script, but the silliness of the entire concept eventually wears down your defenses - not quite as the evil Dr. Forrester had planned, but effectively nevertheless. You will laugh.

This sure beats "Major League II." In fact, this movie is a lot more entertaining than the Michelle Pfeiffer showcase "Dangerous Minds." That was a big hit. Using Hollywood logic, I have to assume that this one won't be.

The movie is decidedly old-fashioned, aiming to send kids and their parents out of the theater feeling good about themselves.

Forceful and well-acted. Fear truly lives up to its title.

On the whole, the movie is a success. I still hope that children and their parents will read this wonderful book together, but it's nice that there's a movie they can see, too.

This is the sort of movie that doesn't become irritating even when it's predictable.

The film's premise is totally implausible yet great performances, directing and script allow us to transcend the concept of believability and enjoy nevertheless.