Adventurous viewers will find this unusual genre hybrid an intriguing experience, and Donnie Yen's fight choreography is breathtaking.

It's sometimes hard to breath for the sheer volume of acting sucking the air out of the room, and keeping three narratives movie without muddling them all is a hugely ambitious undertaking for any director, let alone one on his second film.

Overall, the book is a far more rewarding experience than the movie.

While Edward Norton convincingly portrays both the good and bad side of his conflicted man, a great deal of the insight into his character comes from the strong supporting cast.

Blends history and mystery into an entertaining, if somewhat slight, romance.

An engaging bit of entertainment.

More subtlety or quiet introspection might have lent greater credibility to the role, though Grant and Robinson unquestionably have made their point.

Salvatores draws strikingly unsentimental performances from his young actors, all making their film debuts, and juxtaposes the petty meanness of children with the calculated cruelty of desperate adults to haunting effect.

As a treatment of yet another unexplored corner of the Nazi nightmare, the film is revelatory; needless to say it's also heartbreaking.

Touched with eerie dream sequences, the film casts a strange spell that's enhanced by the rhythmic, almost sensual depiction of the painstaking art of embroidery.

It's amusing more often than it isn't, largely because the cast is so nonchalant and, well, French about everything.

The laughs are low -- very low -- and the comedy often flags. But two elaborate sequences involving a bad-tempered little ankle-biter are standouts.

Even if it doesn't up live to its inspired beginning, Mike Judge scores something with all the marks of a workplace cult classic with his first big-screen, live-action outing.

The plot is a recycled mess, the dialog is awful, and the character motivation is nil, but thanks to Konchalovsky (and a strong performance by Russell), Tango and Cash is not only bearable, it's likable. Responsible for some of the finest films of the 80s, the Soviet-born director brings an insane, kinetic energy to the film that makes for effective action sequences and potent satire. A very smart "dumb" movie.

Francis Ford Coppola has turned John Grisham's pulpy bestseller into surprisingly creditable -- if morally muddled -- movie.

Hate the holidays? You're in luck: Here's a bottomed-out Santa story.

Spader is most effective here, and Lowe has finally found his niche as a junior league Richard Gere. The tension between the two is well handled and yet never quite explained, which adds to the mysterious feel of the movie and gives the characters a sexually ambiguous edge.

Surprisingly, it works: The overwhelming natural expanse of the New Mexico desert is perfectly balanced by the psychic space Charley and Arlene create - the space where all the real action takes place.

A sassy romantic battle of the sexes with a refreshing African-American slant.

Compulsively watchable.

Atkinson's painfully unfunny turn as an insensitive gynecologist is eclipsed by Hollander's scathingly funny portrayal of belligerent auteur Proclaimer, whose wears his pretenses with such scabby aplomb that they achieve high style.

The film is slow and somber during the windup but pretty scary in the follow-through.

A sweet-natured and refreshingly uncartoonlike look at the trials of an unworldly Midwestern college boy negotiating his freshman year at NYU.

An above-average thriller, offering a fresh hero based on "The Destroyer" series of novels (at least 120 of which are currently available).

Supremely silly on the surface but full of sophisticated sight gags and deadpan humor.

The folks at Jim Henson Pictures have wisely opted not to mess with the late Jim Henson's winning formula; the crowd-pleasing soundtrack features hot '70s funk classics, the Muppets are as cute as ever and there are more than a few flashes of adult humor to keep grown-ups laughing right along with the kiddies.

Things take an unexpected turn into far grimmer territory when the wormy Robert finally turns.

More ambitious than the usual low-budget horror item, SOCIETY doesn't develop its provocative idea--when the rich feed off the lower classes, they do so literally--to the fullest, but has its share of intriguing and chilly moments along the way.