Hugely satisfying entertainment that will attract a broad spectrum of audiences around the world. Zwick fully exploits the star power at his disposal, pairing off Cruise and Japanese star Ken Watanabe as two larger-than-life warriors.

Demanding but deeply affecting, My Flesh and Blood ultimately takes on a literal, highly visceral meaning that transcends notions of conventional family dynamics.

An ultimately moving effort that well illustrates the often hopeless situation faced by the people whose lives it depicts.

Glorious so-bad-it's-good entertainment.

A refreshing throwback to another era of moviemaking: This movie was poured from the bottle, not one of those bar regulator machines. It's got the kick, style and flavor of a straight-up story, before movies were watered down with the opinions of marketers, lawyers and committee heads.

Pleasant and atmospheric family romp, offering enough mildly chilling thrills to keep everyone entertained during its brief running time.

Layered with elements that are both amusing and touching but never threatening to collapse into a big heap of sentimental mush.

Happens to be extremely funny -- at times sidesplittingly so -- thanks to Zwigoff's way with raw irreverence and Thornton's perfectly pitched, ready-for-anything performance.

Episodic in its storytelling, the film never really achieves any true narrative momentum. But individual scenes do register strongly.

There's little to distinguish this tale from the countless similar efforts that have preceded it, other than the exoticism of its setting. The performers do manage to bring some life to their characters.

Resembling a short story more than a narrative feature, the film tells its slender story in leisurely fashion, relying more on mood and atmosphere than dialogue or character development.

A stunning virtuoso performance by director, cast and crew. This movie knocks you out with an astonishing blend of hyper-realism, visual complexity and powerful themes.

For a while there, Mathieu Kassovitz's atmospherically charged direction sucks the viewer into the story's hellish vortex. That is until the film becomes possessed by an increasingly ludicrous beyond-the-grave element from which there is no rational return.

Emerges as a lackluster and nearly charmless affair.

Ultimately unable to overcome both its amateurish qualities and its overly familiar elements.

This murky, thriller-tinged Western has the terrain down cold -- from the wide-open spaces to the rocky vistas -- but beneath all the requisite genre trappings there's a vast, empty gulch where the affecting dramatic element should have been found.

This well-made epic boasts carefully researched production values and the talents of classically trained actors, but by literally playing it by the book, the picture loses something dramatic in the translation.

A poet warrior of the first order emerges in this riveting chronicle of the brief life and times of rap superstar Tupac Shakur.

It will never be confused with the groundbreaking "Who Framed Roger Rabbit," but when it comes to a zippy live-action-meets-animation kid flick with plenty of grown-up gags, Looney Tunes: Back in Action does not disappoint.

The epic adventure, set during the Napoleonic Wars, boasts at least two artists at the top of their respective games -- namely filmmaker Peter Weir and actor Russell Crowe.

Earns an A for effort but a much lower grade in the entertainment department.

At once impressive and indulgent, hypnotic and patience-inducing with its languorous rhythms. It is, in other words, decidedly not for everyone.

Unfortunately demonstrates the same fractured attention span that makes those Oscar-night montages so entertaining.

Tinged with sorrow, compassion, forgiveness and, ultimately, love. More than 25 years after his father's death, Nathaniel visits his father's architectural works and speaks to the people who knew him.

A wacky comedy involving a suicidal marketing executive and his highly irreverent shrink, Martin & Orloff ultimately doesn't fully succeed in its comedic aspirations, but it does offer some genuine laughs along the way.

Will best be appreciated by those who are already firmly in Earle's camp.

A bizarre exercise in perversion that will well test even the most jaded art house audiences' appetite for the offbeat.

Ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.