Never offers much enlightenment through its message.

As the most diabolically focused and politically incorrect cop this side of Popeye Doyle, Liotta is a hot prospect for this year's supporting-actor Oscar.

Instead of making fun of the series' fans and their lifestyle, Galaxy Quest targets actors and how an onscreen image can forever lock a performer in a particular role. And that proves to be its saving grace.

Occasionally falters in its symbolism and storytelling, but still unnerves because we're never quite sure of our bearings, or whose "reality" we're watching.

A real showcase for Penn, who seems to positively delight in playing a slimy, hateful character that most stars would not go near.

The movie goes down very easily.

A confused and improbable redemption song.

A film of minor pleasures.

Wilde (Fry, in a wonderful performance) comes off less as a sexual martyr than a man who foolishly lets his obsession for an unworthy young lover (Jude Law) lead him into big trouble that he might well have avoided. The only totally sympathetic character in the movie is Wilde's wife (Jennifer Ehle). [05 Jun 1998]

With his usual intelligence, technical virtuosity (the reverse-aging effects are astounding) and storytelling panache, director Fincher gives the film a power and unity that make nearly three hours go by in a flash and pulls its diverse elements together to be something unique for a Hollywood movie -- a true spiritual experience.

A genre-twisting surprise.

After its irresistible first act, Owning Mahowny loses its energy and focus very fast.

The movie is reminiscent of the films of Claude Sautet but it has a grittier, more youthful appeal. Still, it's just as nuanced and rich in all its messy revelation. [21 May 1999]

The story plays out in the sensuous textures and hypnotic rhythms as the rebellious youth Torres embodies eases into a serenity and acceptance that Montenegro brings so gently to her performance.

While there is a faithful following of kids, it just never seems as exciting or sad or emotional -- or as ablaze with personalities -- as what has gone before.

An alternately angry and sad portrait, passionate in its presentation and moving in its portrayal of individuals who sacrifice their love for the tenets of their religion.

Despite the raw gut-punch of its direction, its power lies in compassion, not sensationalism.

The actors navigate tough characters through emotional mayhem with such intense determination it's a shame they're undercut by the intrusive voice-over.

A family-friendly remake funnier, fresher and more affecting than the flavorless original.

Deftly weaves history, film and memory into an imaginative meditation on why the movies become a part of our lives.

The overall saga is moving, the performances are first-rate, the production values (which do not rely on the usual cartoonish CGI effects) are strong, and Carion captures the special insanity of stalemated trench warfare with an unusual horrific flair.

Cronenberg is one of the cinema's true originals, and a trip to his spooky world is always a harrowing, thought-provoking experience.

The ironies and contradictions that give the first half a dark humor give way to gravity and respect as soldiers are killed (off camera).

It's more theatrical pageant than action movie, with the showy but rudimentary martial-arts action coming off like just another ritual with the players going through the motions.

This tale of kooky social misfits finding their place in the world is an audience pleaser, for all the reasons such tales usually are.

What the film does extremely well is take us deep into the crime scene, and give faces to the victims so we can experience this epic, incomprehensible and somehow prototypically American act of violence on a more personal and intimate level.

This scruffy, unkempt tale lacks the narrative satisfaction of Kaufman's dramatic design, but between the chaotic zigs and creative jags, it proclaims its own kind of messy authenticity and a bittersweet beauty.

The triumphs still are affecting, the setting is compelling and some of the human moments amid the political circus and culture wars are downright moving.