At the very least, this film should hush those who insist that Diaz has talent beyond visual appeal, but it's unfair to single out her relatively minor offenses when there's so much else to hate about A Life Less Ordinary, an embarrassment for all concerned.

The characters are never really more than stereotypes (the brain, the beauty, the dreamer, the jock), but as the body count begins to mount, you feel their terror build.

As a comedy, it's painfully unfunny, and as a drama, it's both silly and overcrowded with unnecessary characters and subplots. Still, Best Men has its moments.

While it's very funny, Boogie Nights taps into something much deeper with its on-target depiction of the shifting political and social tides of the '70s and '80s and thoughtful relationships between characters. It's a deeply satisfying movie.

Director Mark Waters has done probably the best possible job translating the material to film, and the truly filmic moments work well, but with this dialogue-heavy material, it's like trying to translate Run-DMC lyrics into Old French.

Annaud has given Seven Years In Tibet an epic scope, packed with beautiful scenery, lush costumes, and elaborate sets. Which would all be well and good if they didn't often seem like the reason the movie exists.

As is probably inevitable for a film with two corrupt, murderous, drug-dealing cops for protagonists, Gang Related is a nasty, vicious little movie. It's also an excellent genre film. Like a good pulp novel, it tells a lurid story cleanly and effectively, without calling undue attention to itself. The cast is uniformly excellent, with James Earl Jones, David Paymer and Gary Cole making good turns in supporting roles. Belushi turns in a surprisingly restrained performance as the nastier of the two corrupt cops, but the real surprise here is Shakur's work as an essentially moral officer who is gradually sickened by the murky moral swamp in which he finds himself. Shakur's growth as an actor since his unheralded debut performance in Nothing But Trouble is nothing short of remarkable

Freeman and Judd are fine, as could be expected, but their pairing deserves a better movie -- not one with a cheap twist ending that will easily be spotted by anyone who's studied the complex machinations of any episode of Murder, She Wrote.

A harsh (though slightly toned down from Moody's book), deeply moving, emotionally rich and intelligent film about the difficulty of rebelling against social restrictions--and the inescapable consequences of such attempts when they do succeed--The Ice Storm should not be missed.

Most action movies are so confident of their automatic audience that they're no better than they have to be. The Peacemaker isn't half that good.

Tamahori’s workmanlike production doesn’t match the elemental power of Mamet’s script, and it fails to evoke the harsh physical conditions that turn ordinary, civilized men into resourceful survivalists and predators.

As the story unfolds, carefully and elaborately, what develops is not just a remarkably intricate crime tale but a brilliant and compassionate story of people who struggle to rise above their flawed nature. This may be the best movie of the year; it's definitely one of the greatest crime films of all time.

Screenwriter Paul Rudnick could be the closest thing 1990s Hollywood has to Preston Sturges, and in this era of Jim Carrey's slapstick seizures and Adam Sandler's deliberate anti-cleverness, it's a welcome thing. His In & Out is a smoothly paced, often wildly funny tale.

Despite an alluring set-up and heartfelt performances from the leads, nothing ultimately coheres, and mood trumps logic on every occasion.

It's a stylish, cleverly plotted, perpetually unpredictable film with another electric (albeit brief) performance from Penn. So why is it so unaffecting?

Like most Seagal movies, the violence is poorly choreographed, the clothes are bad, and you weren't going to see it anyway, were you?

Although Excess Baggage is not actually unwatchable, this is mostly due to Del Toro's dazed charisma and an inspired bit of weirdness by Christopher Walken as Silverstone's dangerous uncle.

At once grittily realistic and hopelessly romantic, She's So Lovely walks a fine line between artiness and pretension, and to its credit, it seldom falters.

A conclusion featuring a dizzying string of betrayals that leads to a confusing anti-climax robs the film of even cheap action thrills, making Hoodlum an almost thoroughly forgettable experience, albeit probably the only film in history to unite Queen Latifah and The Mod Squad's Clarence Williams III.

If you're looking for a film that addresses a woman's place in a combat unit, keep waiting. If you want a film where a woman can get big muscles and shoot guns and have her husband still love her, here you are.

The latter half, set in the less visited parts of New York's subway system, bogs down considerably, abandoning its hybrid approach and becoming content to simply clone Aliens.

Fire is designed to provoke questions and spark debate. Mission accomplished, but, despite a heartfelt tone that pervades its every moment, it doesn't do much else.

Cop Land emerges as a first-rate morality play in the form of an effective, if occasionally unwieldy, crime drama.

The movie looks great at first, with interesting spaceship designs and genuinely creepy abandoned interiors, and the initial idea had plenty of potential. But by the time the story gets rolling, the filmmakers are trying unsuccessfully to scare the audience with sudden loud noises and gallon upon gallon of fake blood.

While the structure of The Delta—sort of a tag-team narrative that begins with Gray and switches to Chan halfway through—is an intriguing touch, this gritty film never follows through on the issues it raises.

A winning mix of humor and poignant character examination, and a satisfying film.

Writer/director Neil LaBute has taken the gender-issues film into uncharted, almost inhuman territory with this malevolently perfect exploration of male cruelty.

Though "extremely mediocre" may seem like an oxymoron, no phrase better defines Picture Perfect. Aside from wearing, with visual discomfort, a series of absurdly revealing dresses, Aniston does little to distance herself from her "Friends" persona with this slightly less likable character.