Though ultimately the film is all smoke and mirrors, the sensibility it reflects is rich and exciting.

This loving parody is steeped in comic book trivia and lore: The more you know, the more heartfelt your response to the film is likely to be.

A triumph of slick direction and lowbrow thrills, marred but not spoiled by a sour aftertaste.

Despite the obvious potential for comic disaster, the results are only intermittently amusing. Keaton's Kinney is such a selfish, lemon-lipped wet blanket, you can't help wishing he'd been diminished a little with each cloning, until there was nothing left of him at all.

It unfolds in the angst-haunted shadow of the 9'11 terror attacks and teeters on a thin edge of sheer panic.

The soundtrack (Heart, ELO, Todd Rundgren, and an original score by the French duo Air) is spot-on and the costume design (pukka shells and knee-socks) is hideously accurate.

Here, some striking ideas, themes, and symbols never quite gel; the main problem is the plot, which never overcomes the implausibility of its premise. Yet the performances are solidly above average for the genre and, while TRESPASS might have been more compelling, it still displays far more style and intelligence than the average contemporary action thriller.

Anonymously titled and packaged like a vulgar teen sex comedy, this candy-colored trifle is so precious it nearly floats away on a cloud of fairy dust.

Full of the lush, confusing images one comes to expect in a Nicolas Roeg film.

On the whole, it all goes down rather smoothly. Those left wanting more are referred to the RSC's monumental production, now available on DVD, or better yet, to Dickens's original novel.

It's a frequently funny diversion that doesn't have a mean-spirited bone in its body.

Breezy, surprisingly poignant Spanish film.

Though the film's fanciful premise seems more naturally suited to comedy, Bose exploits its more sinister implications surprisingly skillfully until the combined weight of narrative threads involving incest, suicide and murder eventually bog the story down.

Driven equally by big questions and the abiding desire for small pleasures, like a decent cup of tea, it's an eccentric, mind-bending head trip that greets every catastrophe with an endearingly goofy smile that embodies Hitchhiker's Guide's Zen mantra: Don't Panic!

The film's a trifle, but a beautifully crafted one.

For all the film's cleverness -- and it's often very clever -- it's as thin as its heroine.

Neither cheerfully naughty nor suffused with gauzy prurience, it evokes a time of turbulent (and often ugly) emotions with disquieting intensity.

Screenwriter Vincent Molina takes into account changing attitudes towards homosexuality and the resulting film never feels like the kind of thing we've seen time and again in the '80s and '90s.

Like the fresh-faced leads, the film is an unexpected charmer.

An amateur in the best sense of the word, Dobson is an engaging ambassador for a life of the mind lived firmly in the real world.

So crammed with plot twists that it's hard to follow, simultaneously ludicrous, sappy and casually dismissive of all the things Hollywood holds dear.

The dialog is wonderful, but at times director Mazursky sacrifices the human element of his story to indulgent camerawork.

Harmon and Murray are cardboard cutouts of ideal boyfriends; the only male performer allowed to shine is newcomer Ryan Malgarini, who nearly steals every scene he's in.

As with many Stephen King adaptations, the problem no doubt partially lies in the necessity to condense the lengthy source novel, with material that might have given the story more depth lost in favor of packing in the horrific highlights

A fascinating, often tragic history of a program the Soviet Union held up to the rest of the world as communism's ultimate technological achievement.

Universal Studios' elaborate and expensive remake of their classic 1925 silent horror film The Phantom of the Opera boasts fabulous sets, gorgeous costumes, and stunning Technicolor photography--but fails in the horror department, because of an excess of music and low comedy.

Although not what American studios generally mean by "family fare," this drama is actually excellent family viewing -- it both opens a window onto another culture and, through Antonio, speaks the universal language of teen angst.

The first hour of The Tomorrow War is really quite dumb fun. The second half pumps the brakes on the wacky sci-fi and just goes in for gross-out action.