Doesn't offer much texture or depth of character.

Hawn mows down everything in her path with a giggle. It's great fun to watch her just eat up this movie.

Charlize Theron, playing the one woman member of the team, handily steals the movie from the guys with her no-nonsense display of verve and vulnerability.

It's a daring failure that should delight many devotees of Classic Hollywood.

For what it's worth, the film also goes out of its way to be a lavish visual re-creation of the 1880s.

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.

A cross between David Bowie and Maria Callas, the German singer took androgyny to an unearthly level.

The film gets snaps just by attempting the high road, and should be enjoyed by its target audience.

The scenes that really work are the ones that take place outside the supermarket, in the beginning and at the end of the film. In fact, the "Twilight Zone"-inspired ending nearly makes up for all that comes before.

Predictable but entertaining kid movie.

The guys of the Broken Lizard comedy troupe (of "Super Troopers" fame) are neither subtle nor especially ingenious. But in the age of gross-out gags and high-concept gimmicks, they throw themselves into the raucous, rude style of '70s film comedy with shameless glee.

But the movie goes absolutely nowhere. It allows us to be a fly on the wall to a whirlwind of gossip, confessions and intimate moments. But when the ending comes, it's an epic letdown. It's just so much Oprah-esque eye candy, without a point of view, or a plot.

It's a mixed blessing.

The books' magic was rooted in its ties to Arthurian legend and British folklore, grandiose elements which Cunningham and Hodge have stripped.

When Rock hits he's dangerously funny. If he didn't try so hard to be liked, he'd be even more dangerous.

Has a delightfully nasty villain and pumped-up action, albeit along familiar lines.

Cute and often clever, there's nothing particularly memorable in this computer enhanced rerun, but this harmless little comedy has an unexpected warmth that melts the frozen plot.

The resulting political thriller is more intriguing than riveting, flattened by Jewison's plodding direction and distracting use of British actors to play French characters.

The gags hit more than they miss, and Stiller has moments of inspired absurdity, but he's capable of something more cutting and clever. It's junk food moviemaking: fun to snack on, but hardly a substantial meal.

Although Johansson has a knack for nailing most roles, the angry yet fun-loving nanny doesn't quite work for her.

For all its impressive set pieces and breathless momentum, it's neither passionate nor urgent.

Caro Diario is an alternately charming and unsettling mood piece that communicates well the offbeat world view of a self-confessed '60s-style rebel. [21 Oct 1994]

The movie as a whole seems pointlessly ugly. And with a gang rape that includes more than 50 participants and a homophobic bashing that results in a crucifixion, complete with heavy-handed Christ symbolism, it also opens itself up to a charge of being a tad overblown. [11 May 1990]

It resorts to a story line so predictable that its willingness to go so earnestly into unoriginal territory is doubly disappointing since its first half had so much more going for it.

Like most Price movies, it's challenging, engaging and free of the usual thriller cliches.

The film's European locations, sets (in Rome's Cinecitta studios) and photography are unusually striking; Rachel Portman contributes an elegant score; and Holm (who played the emperor once before in 1981's "Time Bandits") embodies the character with an effortlessly regal charisma.

The anger and betrayal hanging in the wake of shattered relationships and conflicted identities leave an admirable untidiness where most films would force resolution. There are no easy answers here, and it's not for lack of questions.

As much a call to action as a documentary, it's a compelling and sobering lesson in the devastating effect of human industry on the planet. But a lesson nonetheless.