Feels less like a movie than a lost episode of the old Steve Allen or Jack Paar late-night chat shows.

While changes have been made to the book in the interest of compressing the story and emphasizing certain life lessons, the 33-year-old premise is still perfectly in sync with the sensibilities of preteen boys everywhere.

This very effective thriller features a chilling performance by Hauer as the emotionless killing machine. Stallone and Williams are also credible, and the film makes good use of its New York locations.

A screwball comedy without a charismatic, smart-talking dame is no screwball comedy at all.

It's a chamber piece that probably should have stayed where it started, in regional theater.

A self-consciously arty ensemble piece that's alternately exploitative, implausible and cliche ridden.

(Salerno-Sonnenberg's) determination and resilience should speak to a broader audience.

It's tremendous fun, thanks largely to a smarter-than-average script and some fierce casting.

As thrilling as they can be on stage, Chekhov's plays have never been the stuff of great movies -- there's simply nothing cinematic about them.

Banderas inhabits the role of the mariachi with a feral grace undimished by the seven-year gap between films.

The darker hues of Amis's story, though frequently discernible beneath the gloss, are ultimately submerged beneath the usual set of artistic compromises.

The plot is mindless and only an excuse for lots of music video-styled dance sequences.

Quick Change unfolds cleverly, keeping the audience in the dark on the robbery plot throughout the film's opening reel.

Hackman's role requires him to spend so little time on screen that it's virtually an above-the-title cameo, and Grant trots out his trademark charming mannerisms, which look a bit fresher than usual by virtue of the darker than usual context. Be warned: Director Michael Apted does not resist the temptation to preach.

That this deceptively quiet crime thriller about an ex con's troubled homecoming sat on the shelf for four years before finding commercial distribution speaks volumes about both the voracious appetite for sand/surf/summer-break cliches and Hollywood's willingness to pander to it.

This entertaining spoof of western movie cliches features Garner as a stranger who stops off at a small town en route to Australia, a running joke that works well through the rest of the film.

Long, lumpy and sadly charmless, this adaptation of John Berendt's nonfiction portrait of Savannah, GA, refracted through the prism of a scandalous true-crime story, tramples all over the silkily seductive voice that makes the book so compulsively readable and eerily haunting.

Reiner does one of his best directing jobs and never resorts to some of the silliness he's demonstrated in other films. Denver is very affable and could have had a good movie career given the right material.

The notorious action star keeps his bombastic persona remarkably reeled in, and the resulting film is earnest, somber, and extremely modest -- almost to a fault.

Linney's character is written as a one-dimensional monster whose selfish cruelty is beyond redemption and, ultimately, belief.

This is a smart and splendidly decorated rethinking of Anna Leonowens's famous chronicle

Exciting and well-shot.

While there's plenty of Shakespeare, Lawrence and Yeats scattered throughout John Brownlow's screenplay, there's precious little Plath -- no doubt the unfortunate result of the stranglehold the Hughes estate still maintains over her work.

Lighter than helium but irresistible nonetheless.

Negrin's film is a well-deserved tribute to a principled man who dared to act when principles no longer counted for anything.

Raw, uncompromising and surprisingly explicit.

A truly lousy reworking of a Billy Wilder misfire... The story is drearily predictable, the leads are charmless -- Ormond's 15 minutes are probably already behind her -- and the direction, by the usually reliable Sidney Pollack, is strictly by the numbers.

Whip together TV's The Invaders and V. Fold in cult classic Enemy From Space and season with a dash of Species. The yield: an agreeable cocktail of paranoid sci-fi conventions that bubbles along energetically, despite surprisingly low-tech trappings