It's just as juvenile as you'd expect, and even funnier.

WHERE THE DAY TAKES YOU has a consistently engaging narrative that resonates with accuracy and honesty.

A fresh and spirited fairy tale.

Taken as a whole, Robin and Marian is a spotty picture that's sometimes satirical, a trifle pretentious, occasionally exciting.

Loud and brassy, Wayne does a good job in his broad comedy role, although it is doubtful that the picture could have gotten away with the spanking scene if it were made today.

The story is predictable, but Reeder's performance is painfully convincing and the East Village locations so uniformly grimy that they all but weep despair.

It's never dull: Shalhoub's direction is smart, the dialogue is tart and the Adams' family shares a palpable intimacy that translates directly onto the screen.

Director Yates, critically hailed for BULLITT (1968), seems to have little idea what to do with Redford, and the slowest parts of the film are the scenes developing his character into someone the audience still doesn't especially care about. The rest of the film, though, is quite enjoyable as the gang commits elaborate caper after elaborate caper, always finding their objective has just eluded them.

LeRoy's direction is apparently nonexistent, but what this movie really lacks is a good musical score with tunes by someone like Harry Warren, Richard Rodgers, or Cole Porter.

Written with all the bite of a distinctly middle-class church social, this musical re-working of The Philadelphia Story feels distant.

Without the top-notch cast it would be indistinguishable from hundreds of pedestrian serial-killer pictures that clog video store shelves.

What could easily have been a sentimental, fannish exercise in musty nostalgia is in fact a lovely tribute to an era of feverish creativity that seemed as though it would never end yet now lives only in memory.

This sweet film is a genuine treat, even if there's little plot, no antic mayhem and its 90-minute running time is mostly consumed by nonstop, sometimes pretentious dialogue.

Despite its floating narrative, this is a remarkably accessible and haunting film.

While not particularly dramatically compelling, the film is carefully constructed and exposes both the economic and sexual exploitation of illegal workers.

Good, ghoulish fun.

Filled with short, rapid-fire takes, edited to a pulsating beat and punctuated with blasts of noise...the style suits the often violent material, as well as Arquette's remarkable physical performance.

Subtle performances and the "you are there" immediacy conferred by digital video give Roy's film the feel of a series of stolen moments.

Knightriders is overlong and at times fairly undramatic, but for viewers who stick with it and accept the premise, there is much of interest to be found here.

With scenes that must surely rank among the most revolting ever committed to film.

After nearly a decade of duds, Wes Craven reasserts his claim to being a master of suspense with this solid little airborne thriller.

If this brutal tale of crime and corruption within the upper ranks of the Los Angeles Police Department feels like an updated retelling of "L.A. Confidential," there's good reason. Both stories spring from the dark mind of American crime writer James Ellroy.

The movie's performances, especially Lathan's, are strong enough to balance out the sometimes-clichéd script.

The movie's physical violence isn't gratuitous -- it's the emotional violence that makes this a movie for grown-ups, not kids.

Creatively edited and as insightful as any film can be about the lowest rungs of the music scene, this overview expertly captures the time and place. Still, the movie lacks the crossover potential to appeal to non-punk viewers.

It would be hard to mount a straight-faced defense of Brisseau's feverish moral tale, complete with a lurking angel of death, but the carnal machinations are hugely entertaining -- particularly if you like your skin with a bracing sermon chaser.

Director Ron Howard attempts the Great American Newspaper Picture and mostly pulls it off. The film's greatest weakness is that he and screenwriters David and Stephen Koepp (the latter a journalist himself) love those scrappy newshounds too much; THE PAPER doesn't even try for the appropriately acid bite of, say, any version of THE FRONT PAGE.

The saucy repartee will amuse adults, while the climactic showdowns -- yes, there are more than one -- are gripping entertainment for the whole family.