More isn't always better; everything feels slightly forced, and the funny bits -- make no mistake, there are several -- are all but lost in the noise.

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.

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

You may not care for the message, but there's nothing insidious about it.

The Armenian-American quartet have taken it upon themselves to teach their fans about what happened to their families in that now-forgotten time, a deeply personal mission that has proven effective in politicizing their audiences.

While the cast is uniformly committed, some are able to make more of the material than others.

Although the film plays a little too heavily on this patriotic theme, its simple boy-and-his-horse story is beautifully effective.

Hanks is excellent and has a way with funny lines that marks him as one of the better droll comic actors, if given the right material. Here, writers Ken Levine and David Isaacs have provided the actors with solid jokes.

The book featured lots of sexy scenes, but the film adaptation is, at best, cool and dispassionate. Mitchum's facial expressions seem to fall into two categories: sullen and sour.

Skillfully written by Bloch and boasting an excellent cast, this omnibus is a bit better than most and was the feature debut of television director Peter Duffell.

Though it occasionally goes over the top with its melodrama and lacks some technical credibility, On The Beach remains a powerful, well-acted, deftly photographed film

Working from a screenplay that drew on scriptwriter Fusco's experience as an itinerant young blues man, Hill and cinematographer Bailey perfectly capture the look and feel of the Mississippi Delta, heretofore little seen on film.

The cast gives believable and realistic performances, with script and direction contributing a sleekness, although the underlying messages receive undue emphasis.

The bones of a great Western remain barely visible under the layer of mush he and screenwriter Ken Kaufman smooth over them, reminders of the viciously memorable film that might have been.

The trouble is that Turturro's reach considerably exceeds his grasp.

Unwilling to offend, Zwick whitewashes a culture in which brutality and contemplative beauty were inextricably intertwined and, afraid to alienate audiences, he shies away from the story's logical downbeat conclusion, replacing it with an "ambiguous" ending that recalls, of all things, "The Road Warrior."

Even though Kinnear is meant to be obvious love interest, it's the relationship between Kate and Angie that becomes the film's central story, making this comedy sweeter -- and more honest in its depiction of class difference -- than one might otherwise expect.

It's a back-to-basics, gore-and-gristle look at the no-frills nastiness of 1970s films, in which monsters, mutants and ghosts can't hold a candle to the sheer, unadulterated evil that lurks in the hearts of men.

Bean fills in some empty spaces with heady thoughts about the nature of power and beauty, but the movie's real appeal lies in the simple but by no means inconsiderable pleasure of watching Tim Robbins take a hammer to a parked car as it wails pointlessly, deep into the night.

Sadly, the only aspect of this well-intentioned film that doesn't feel completely formulaic is its refreshingly unromantic picture of an inner-city neighborhood in the early '70s: Life in Nicetown is hard and very, very poor.

Director Harold Ramis, star and co-writer of STRIPES (1981) and GHOST BUSTERS (1984), keeps this film moving and heightens the humor with his inclusion of comic cameos from a variety of actors.

Outrageous Fortune is an effort on the part of Disney to prove it can distribute adult films, but it only shows that it has no real perception of what such pictures are all about.

Although the concept of small dolls coming to bloodthirsty life sounds scary, its fear factor decreases rapidly after the initial shock.

The lives of three deeply unhappy New Yorkers crisscross in unexpected ways in writer-director Joe Maggio's uneven but strangely affecting film.

It quickly becomes clear that Nijinsky's disordered thoughts are simply the rantings of a man losing his grip on reality. They're sad and occasionally evocative, but they're not especially interesting in and of themselves, and do nothing to evoke or illuminate Nijinsky's genius.

All the segments are technically polished, but none offers much substance.

Superbly acted by everyone involved (Rhames does his best work since "Pulp Fiction"), the film is really more about character than plot, though frankly, at more than two hours, it could have used a bit more of the latter.

The stripped-down production give a disturbing sense of immediacy to an otherwise fairly conventional story about boys being prepared for war.