Spottiswoode and Schwarzenegger deliver a clever and colorful conspiratorial thriller with high-energy action scenes, car crashes a go-go, spectacular technology and big explosions, packaged with ferocious glee and spoofing humor. Who could ask for more from Ah-nold?

More chic and movie-savvy than its predecessor.

Little Nicky will please Sandler's fans and likely won't win any converts.

A reminder of the offbeat comic sensibility and visceral charge that marked him (Sabu) as a director to watch.

A drama that embraces the ambiguities and contradictions of family ties and human nature in all its irrational glory.

It's a surprisingly happy film, almost completely devoid of bitterness or cynicism.

Fails to generate the elementary visceral thrills we've come to expect from science-fiction thrillers, let alone a compelling human drama.

Loses focus of whom the film is honoring.

Casts a dreamy romantic spell that lingers pleasantly in the mind for a long time after experiencing it.

An inspirational documentary that treats thinkers (so often the villains of our entertainments) as heroes.

Despite some engaging performances and good scenes, it's by far the least original, and least accomplished, of the six Redford-directed films.

At more than two hours, Kippur is something of an ordeal.

At its best, it is self-effacing fun.But the cartoonish approach takes its toll: The random twists and contrived showdowns devolve into just so much abstract business, too silly to take seriously and too unmotivated to make sense.

A first-rate student film, but not much more.

At its best when it remains with the women, and Marshall draws marvelous performances from all.

A quirky little film with an offbeat trajectory that rattles through the bones of story with eyes open to the texture of experience and the dimensions of character.

If Laurence Fishburne could only have harnessed his fierce performance to drive his directoral debut, Once in the Life might have made something memorable of the done-to-death tale of small-time crooks on the run after a heist gone wrong.

If Chadha never quite overcomes her cliches, her good-natured humor and familial faith gives it a warm, winsome dimension.

Resnick's script never engages, the stars can't find the keys to their broadly played characters, and Ephron's direction is harrowingly out of sync.

In its austere visual understatement rests a ton of emotional power.

In Arcand's skilled hands, this sassy assembly comes together to be a comedy, a satire and a character study that's somehow not a bit condescending.

It doesn't have the imagination or daring to make a full turn to self-parody.

Both intellectually absorbing and emotionally gripping.

Inferior remake.

It lacks history, background and cultural roots, but it's undeniably infectious.

It almost completely falls apart in a tortuous third act and ultimately leaves us feeling strangely empty and dissatisfied.

Another gutsy, big-budget movie that dares to say something new and optimistic about our messed-up times. And it almost, but not quite, brings it off.

Altman always manages to pop up with another masterpiece -- and darned if he hasn't done it again.