Based on one of the best of Ian Fleming's Bond novels, On Her Majesty's Secret Service benefited from an extremely well-written script that finally revealed a bit more of Bond's character. Lazenby, however, had no previous acting experience, and his lackadaisical performance limits the whole production, yet it still manages to remain one of the more entertaining Bond films.

What does work in Coming Home are the small, human, unguarded moments. The performances, undeniably appealing, were deservedly praised, Dern and Voight coming off best.

The film's most memorable character is the perpetually stoned surfer played by Sean Penn. His confrontations with Mr. Hand (Walston), a draconian history teacher, provide the film's finest moments.

The filmmaker's command of storytelling is less than assured, and with the exception of Figueroa and Annette Murphy (who plays Pepe's mistress Letti), the film's performances range from awkwardly wooden to amateurishly awful. While Arteta is definitely a filmmaker to watch, this particular movie is a testament to aspirations that considerably exceed his present abilities.

A charming, technically sensational version of E.B. White's children's classic.

This film's splendid visuals suit the subject, Spain's greatest painter, but its stilted dramatics are wholly at odds with Francisco de Goya's tumultuous life and times.

Handsomely photographed and acted...defiantly old-fashioned testament to the power of love.

Be sure to stay for the coda, a damning piece of newsreel that casts much of what went before in a whole new light.

Though occasionally enlivened by fanciful sequences suggesting the surreal power of Kahlo's vivid inner life, it's often mired in the mechanical accretion of incidents that blights most biographical films.

The entire cast is extraordinarily good -- many of them are, after all, actors by trade -- but throughout, Zhang is keen to remind his audience that this is only a dramatization.

A moody, beautifully acted character piece.

You just know that any film that opens with Nietzsche's aphorism about hope being an evil that only prolongs the torments of man isn't going to a comedy.

This good-natured genre piece gets the job done while sneaking in a couple of pointed observations about contemporary Latino immigrant life.

This time Stallone both wrote and directed the film, and though his handling of the actors and camera is less assured than John Avildsen's in Rocky, he keeps things moving at a good pace and delivers another charming performance himself.

Decent songs, an amusing script and some surprisingly imaginative animation.

There's practically nothing wrong with PROJECT X. Broderick is superb as always and proves that he is a commanding screen presence even in the company of a cute chimp. Hunt also turns in a fine performance. Surprisingly, even the film's bad guy (Bill Sadler) has some redeeming qualities, preventing the script from becoming patently simpleminded.

Turturro's sweaty, lumpen Cain is a profoundly disagreeable guide down the rabbit hole of hallucinatory paranoia.

This kind of movie quickly falls apart if the actors overplay the inherent sadness of the situation, and thankfully the stellar cast never makes that mistake.

Its appeal lies in the powerhouse performances delivered by Dench and Smith.

The movie suffers from a serious case of unoriginality.

Director James Bridges fails to instill much life into a narrative peopled with vapid characters.

A compelling but oddly empty film.

The story and pacing of this offbeat comedy wear thin after the first 20 minutes.

Heartfelt and often very funny.

While the slapstick comedy antics are frequently amusing and, on rare occasions, even hilarious, HOT SHOTS!, like so many other cinematic parodies before it, tends to lose sight--or control--of the plot, such as it is, in favor of more jokes, more visual gags and more dialogue puns--all hurled at the audience at a rapid-fire pace.

Like the first ADDAMS FAMILY, this continuation of the macabre clan's misadventures is really just a string of sight gags and one-liners. The good news is that the one-liners are much funnier than the first time, mainly thanks to the increased input of screenwriter Paul Rudnick.

The film's greatest asset is its performances.

The lead girls are easy on the eyes, and comic Faizon Love, who plays one of Matt's non-surfing, sumo-wrestler-size teammates, nearly steals the show when the girls teach him a few of their better moves.