A fine Disney product scripted by cartoonist Key, who is also credited with Gus and The $1,000,000 Duck.

A great premise which doesn't quite deliver what it promises but it's fun anyway.

The film's greatest asset, however, is its unusually authentic use of Manhattan locations: Younger clearly knows New York much better than the topography of the human heart.

It's an action junkie's angry fix -- 130 minutes of sound and fury, signifying nothing but big bucks and boundless contempt for viewer intelligence.

Visually dazzling, touching and funny.

For all its crime-story elements, this richly colored, beautifully shot film is really a story of the friendship between Singer and the kid he calls ZigZag, a relationship made all the more poignant by the fact that Singer is very sick.

While this cheerful film has nothing particularly new to say about the ties that hold family members together even when they're driving each other crazy, it's a pleasure to watch such a talented ensemble at work.

As a document of the ever-mutable musician's signature persona, a wraithlike androgyne with a head full of apocalyptic dreams, it's fascinating.

The storytelling is jerky (perhaps in part because the running time was trimmed from 185 to 142 minutes for U.S. release) and character development takes a backseat to a breathless rush through battles, assassinations and dynastic plotting.

In the end, you're left to pick your moral: Money changes everything or money isn't everything or both.

Edward Klosinski's staid cinematography lends the film a feeling of late summer languor, a deceptive calm before a terrible storm. The spare, evocative piano soundtrack is by John Cale.

Occasionally overrated as a writer but consistently underrated as a director, Towne does a marvelous job resurrecting all the seedy jumble of the long-gone Bunker Hill neighborhood.

Hardcore Bond fans may be dismayed by some of the changes, but no one can deny that the action scenes staged by director John Glen are some of the most spectacular of the entire series and well worth the price of admission.

Fergus' thriller benefits from Pearce's high-strung performance and the stark New Mexico landscapes, but the story is familiar and the pacing much too measured for a slight tale of ineluctable fate.

The real trouble is that the filmmakers consistently choose gags over character.

Reynolds' attempt to emulate Cary Grant (or Tony Curtis doing Cary Grant, as he says in the picture) falls flat, though the picture is entertaining in spots, especially those with Niven.

The film is basically a two-character piece featuring Woodward and Cobb and probably would have made a very good play. Cinematically, it's lacking on several levels.

The real surprise here is Lewis, who seems to have finally hit on a role that balances her usual flakiness with smarts and an offbeat poignancy, and she delivers the strongest work of her adult career.

Peter Weir's talent, so evident in his Australian work, remained dormant here, but Depardieu's lively performance is a redeeming factor.

The alien costumes are clever and show some real imagination in their design. Yet the filmmakers have forgotten a key element. Without an interesting story or characters, special effects aren't enough to sustain a feature film.

A blockbuster hit in Korea, Park's feature debut is a beguiling mix of the generic and the unfamiliar, and it ends on a shot that's nothing short of heartbreaking.

Another in a surprisingly good series of romantic comedies starring Doris Day from producers Ross Hunter and Martin Melcher.

A fun and moving family film with a subtly dark feel rarely seen in kids' movies since the '80s, City of Ember succeeds despite its shortcomings, not only because of its fun and inspiring story, but because most of its flaws are things kids won't notice anyway.

Shot through the bars of a barbed-wire topped cage and staged to a pounding soundtrack, the fight is quite a spectacle, but it's ultimately an empty one.

The story is formulaic, but this brutal, fast-paced thriller makes excellent use of Li's martial arts prowess.

Alternately sweet and raucous comedy.

The talented Bettis works her heart out, but McKee apparently directed her to play May as a quivering crazy from the start.

The constant flow of background images can be distracting, but this is nonetheless a fascinating film that offers an unexpected and valuable perspective on the on-going Arab-Israeli conflict.