The result is like a "Waiting for Godot" for the video-game generation.

Rock Star roars to life with a promise of something inspired and inventive whenever Wahlberg leaps onstage. Offstage, however, even he can't breathe life into this same old song.

The riskiest move Seinfeld made was to create an unlikable protagonist who is wrong every step of the way, but treat him like a hero.

Lightweight fare. [3 Apr 1996]

This remake is considerably different and, for once, the changes have not hurt the film.

It's a methodical, friendly fairy tale in which everyone is good and the outcome is a given.

It is a fairly routine exercise in New Millennium movie mayhem.

A bubbly, high-spirited paean to the joys of pharmaceutical phun that grooves to a throbbing beat but constantly trips over flat, prosaic dialogue and literal, lifeless sight gags.

It's light and airy and, unlike the land-locked planes, runs the risk of nearly floating away into innocuous obscurity.

The movie is bursting with minor characters who upstage the main story with their comic routines and musical interludes.

Doesn't completely work on its own terms, mainly because its romantic casting just doesn't spark: It doesn't make us fall in love with its lovers.

Effective piece of election-year propaganda.

The combined efforts of three novice screenwriters fail to give shape to a life that was, although devoted to a noble cause, unexceptional.

Unfortunately, the life has been sucked out of DiCamillo's story about a brave, unusual little mouse.

The film's near-fatal flaw is its dialogue, which had to be invented wholesale from the Old English text. It alternates between sounding stagy and anachronistically hip -- with more overuse of the F-word than any two Samuel L. Jackson movies. It's a big mistake.

For all of the credibility of the performances (or at least the teens), it all feels like recycled social commentary.

Korine's latest film, Mister Lonely, is no different, but this film has a sweetness that has rarely, if ever, been present in his previous work.

For film buffs who want to see what's hot in Germany, Bandits is probably worth the price of a ticket. Those looking for action, drama, or rock 'n' roll may find the mix less than satisfying.

There's still enough of Doyle's hilariously foul dialogue and outrageous, culture-shocked Irish characters for the film to be a good bit of fun.

We leave hungry for more of the film's substantial, if less physically perfect, subjects.

Tries to both spoof the fairy tale and retell it from a fresh angle. Curiously enough, its strength lies in the clever approach, and not the goofy comedy around the edges.

The teen parties and sidekick silliness are time filler, and not very good filler either -- why even Bruce Willis shows up in a scene that has nothing to do with the story.

With such a good concept for a vampire movie, it's hard to believe it turned out to be this boring.

In this film, the clothes and the city are characters as vital as the four leads, and they don't disappoint. But don't expect any trend-setting in the manner of the series. This is a runway that begins and ends with the movie.

Goal seems destined to be an ongoing soccer-themed soap opera, but it's one that only the game's biggest enthusiasts likely will find compelling.

Woven from such promising threads that you wish it was better.

Like many of Chen's movies, which are so precise and composed and lush, it's not really emotionally engaging. It is, however, a dazzling and dynamic spectacle that risks being ridiculous to create an unreal world of the romantic imagination.

There is no denying the power of The Handmaid's Tale. It's a scary exaggeration of a world that many people claim they want to build. It should be required viewing for anyone who advocates a fundamentalist point of view of any kind. [09 Mar 1990]