Lawrence uses the stand-up forum less as a weapon to blast us with his incisive, razor sharp insights into life, sex and ethnicity than as a pulpit or confessional to chronicle his rehabilitation and reformation.

The futuristic thriller is overly familiar and never especially gripping -- and too somber and cerebral for the young action crowd -- but it looks terrific and is in no way an embarrassment.

Cult-favorite director Victor Salva ("Jeepers Creepers" I & II) is a competent visual storyteller and the film believes in itself so strongly (and with such a straight face) that it's hard not to halfway enjoy it.

The film is thrown off balance by the weight of Norton's compassion for this troubled soul.

For all its pronouncements, it's a frothy romantic lark.

It wants to be both an art-film homage and a rollicking, outrageous sex farce, and it's not really enough of either to make an impression.

Only Carol Kane, hilarious in roller curls and wide tortoiseshell glasses, gets to sink her teeth into her role. At least for Lohan, "Confessions" is her stepping-off point. Now she has to find a film to be her "real" stage.

Competently directed by Christian music producer Steve Taylor, it's a sincerely (if not exactly subtly) performed spiritual drama with a faith-based lesson in humility and the practical charity of offering a helping hand.

It would be very possible for a reasonably intelligent person to sit through its tidal wave of imagery and not get this vision at all.

Imparts its fair share of laughs but bogs down after a solid start and never makes anything special out of its premise.

Diaz is quite believable in the part, and gets solid support from Brewster, who is even more appealing as the adoring, wounded and somewhat vacuous younger sister.

Ford tries very hard to be eccentrically funny -- to the point of forced, slapsticky mugging -- but he looks terrible, his timing is way off and his character is so uptight, abrasive and unappealing that he makes miserable company.

The movie is never engaging on anything but a superficial level, and it gradually gets decidedly tiresome.

Conceptually, the film is unique - it's a kind of nostalgia movie within a nostalgia movie. [16 Apr 1999]

It's funny. Dumb, yes, but funny.

The story is pure gobbledygook.

To call the haphazard string of gags a story is to give it far too much credit, but it is funny in a blunt, profane frat boy way, thanks to the bulldozing energy of Ferrell, the smarmy manipulations of Vaughn and the anything-for-a-laugh excess of Phillips.

Fans of figuring skating will enjoy much of the silliness, however, because its better moments have fun lampooning all the hoopla that surrounds the sport and there are cameos from the likes of Dorothy Hamill, Nancy Kerrigan, Brian Boitano, Peggy Fleming and Sasha Cohen.

But the movie doesn't quite work. In fact, despite some funny moments, "Honeymoon" has so many blown scenes and missed opportunities that it makes one suspect that Bergman may not be the best interpreter of his own material. [28 Aug 1992]

The film is so truncated, so obsessed with style and composed of so many self-contained episodes that it fails to say anything new.

There's an enjoyably literate style here and some humorous moments.

Ledger mumbles his entire performance (some of it barely legible) as a fuzzy, friendly, happily passive heroin addict and sometime poet, as if he's too blissed out to even open his mouth as he simply drifts along with his addiction.

Cliched, mostly routine and never especially satisfying.

The film wants to be "The English Patient" but doesn't have the elements that made that film a classic: sensitivity, perfect casting, a unique visual style and, underlying its grand action romance, a stubborn sense of honesty.

Kilner's light touch keeps the romantic pair dancing around their romance without tripping, but as the film reaches the inevitable happy ending, the steps look all too familiar.

At times it gets lost in the backwaters, but the eccentric characters and offbeat humor make it an entertaining detour.

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

Works best when it devotes itself to the small group of main characters featured on the show.