Aside from the overbearing soundtrack, the film is mercifully unsentimental and Ami himself can be quite droll.

Stone intentionally set out to make a good old-fashioned liberal drama about the evils of unchecked capitalism. This approach results in a film with few shades of gray and lots of moralizing speeches, but Stone nearly pulls it off through his usual visual verve and keen casting instincts.

The film does, however, assemble an amazing array of recorded conversations and vintage newsreel, and offers up enough press conference footage to make one nostalgic for the days when an uncowed, penetrating press really did serve the public interest, and the president was a smart, inspirational and often very funny figure who could think on his feet and fearlessly take on all comers.

The performances of Caan and Richardson are excellent, and the rollerball sequences are fast-paced and interesting.

The story is complex enough to be absorbing, but its pedantic quality makes it -- and its lessons -- all too easy to forget.

The fact that it was shot at the picturesque Utah resort is a huge plus and the film is so unabashedly eager to please.

This is less a movie than a lecture. Perhaps Lee simply should have made a documentary.

A clumsy, calculated attempt at warm-hearted, populist entertainment.

The end result is a film that tries to do too many things at once and does none of them quite right.

The banality of faceless evil isn't actually all that compelling on the hoof; the film's more interesting as a curiosity than as a film.

A triumph of art direction over narrative, but what art direction!

The complications are predictable, as is the resolution; what keeps the film from sinking into its own inconsequentiality is the throaty-voiced Henderson, who can make the most preposterous behavior ring absolutely true.

It's a good thing that Cummings and Leigh have such talented friends: They may overstay their welcome, but it's the entertaining guests who end up saving this poorly planned party.

The payoff doesn't quite equal the intensity of the spectacularly squirm-inducing premise, but Farrell takes his showboating star turn and runs with it.

A leaden, tone-deaf remake of the 1955 Ealing comedy starring Alec Guinness, the Coen brothers' painfully unfunny rehash hinges on the duel of wits between five larcenous oddballs and one sweet but strong-willed old lady.

Even the dramatic heavy hitters, who include Cox, Gleeson, O'Toole and Julie Christie, as Achilles' mother, are powerless in the face of Pitt's yawning hollowness.

The gorgeous Mole Antonelliana is the breakout star of Ferrario's fluffy valentine to the cinema.

The movie's low budget shows, but the competent (many of them also sitcom veterans) cast keeps things moving smoothly.

By the film's big finale, the whole thing has begun to feel distinctly ridiculous.

Charging Albert's film with looking too much like an American chick flick is to give it short shrift: For all the drinking, dancing and group hugs, by the end of their 36-hour trip down memory lane, the women's problems remain unresolved and poisonous secrets are still leaking out.

A surprisingly assured directorial debut that is hampered only by a weak script.

A film that takes such sadistic delight in the thorough humiliation of its heroine.

Ultimately, Schrader pulls us into a mind-over-matter kind of purgatory: Fun and original as his film is, it lacks feeling and heart.

A charming comedy-drama that's surprising true to the events that inspired it.

Director Zelda Barron has a real affection for her characters, enabling them to retain a sweet dignity even under some excessive circumstances dictated by the unimaginative, slight script.

While the script contains trite and unbelievable dialogue, the superbly convincing performances make up for these faults.

This charming tale of a quartet of Australian orphans who share a life-altering holiday in the 1960s should appeal to sentimental adults old enough to wax nostalgic over their own adolescences.

This is Hunt's show, and she delivers a strong performance that captures all the seriousness and absurdity of the avalanche of circumstances that comes crashing down on April's head. To say she's only half the director she is an actress is actually paying her quite a complement.