It's the chemistry between the women and the droll scene-stealing wit and wolfish pessimism of Anna Chancellor that makes this "Two Weddings and a Funeral" fun.

Works mostly off Quaid's performance.

It's a chilly, lonely introduction to a man who has effectively stepped out of the social world of adult responsibility.

DeVito definitely has a gift for absurd black humor that kicks in here and there, but Adam Resnick's script is slavishly mean-spirited.

To be fair, Clockstoppers isn't a bad film, merely bereft of creativity and personality.

Well-paced, well-structured nail-biter with precious little of the usual Hollywood nonsense, several virtuoso sequences, and a camera flourish that only occasionally gets silly.

This vampire story is as soulless as they get.

Somebody in Hollywood thought taking "Some Like It Hot" and "Animal House," sticking them in a blender and serving in Dixie cups was a good idea. That somebody should be fired.

The film below it is such an entertaining and poignantly bittersweet take-down of a good man's midlife crisis that the translation still works like a charm.

With a steady eye and a warm (but never overtly sentimental) heart, it explores a territory where few movies have ventured before.

Like many video games, Resident Evil has a drearily long setup, then a lot of blood and gore, then an overextended ending.

A vivid, thoughtful, unapologetically raw coming-of-age tale full of sex, drugs and rock 'n' roll.

It's getting hard not to think of De Niro as anything but a dead-pan comedian.

It's a chillingly cautionary tale. Less an anti-war than a pro-order film, it tells us that the veneer of civilization is paper thin.

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.

Tainted by cliches, painful improbability and murky points.

For the most part, it's imaginatively staged and consistently entertaining.

This is Epps' showcase. He can't cover all the film's flaws, but he'll sure gab your ear off trying.

A powerful experience, filled with dazzlingly executed action sequences that generally avoid the rock music and drugged-out conventions of "Apocalypse Now," and even exude a certain core of humanity.

Above all, the film is a classic of "poetic realism," that distinct brand of pessimistic '30s French urban drama that gave lyrical, sometimes even surrealistic, interpretations to working-class romances and underworld characters, settings and dramas.

Mostly fun to watch, buoyed by some strong dialogue and performances by the supporting cast.

It plays like a big-budget, after-school special with a generous cast, who at times lift the material from its well-meaning clunkiness.

There's just no juice to this thing, merely a bunch of fitfully funny gags and a climactic football match that, under Skolnick's direction, fails to show us why the Europeans find this so exciting.

It's naturalistic, briskly paced and never overreverential. It's not a bit stagy, yet it manages to be dazzling theater.

Is Queen of the Damned worthy of its hype or should it have a stake driven through its dark heart? The answer lies somewhere in between.

In the film's stronger moments, the artist in her definitely seems to be saying that the impulse to retreat into cultural fundamentalism carries dire risks, that much of what is old and traditional needs changing and there are some things about the detested process of globalization that are wonderfully liberating.

In Costner's best moments, he makes us absolutely believe this character and feel his pain.

A solid piece of storytelling that doesn't pander, skips the usual POW stereotypes and allows the film to work reasonably well as an epic of war, a survival story, a prison thriller, a murder mystery and a courtroom drama.