A slick, largely empty visual exercise with vague thematic overtones about a clash between American and European culture. The Deneuve/Sarandon sex scene, however, is not to be missed by fans of either actress.

Joan Crawford (Dunaway, in a remarkable makeup job) comes off as a cartoon monster in this over-the-top biopic, which blithely mixes fact, legend, and--especially--elements of Crawford's unique screen persona.

Director John N. Smith, who helmed last year's masterly "The Boys of St. Vincent", is reduced to carrying Michelle Pfeiffer's baggage in this assembly-line star vehicle.

Goofy, raunchy and very Japanese, Miike's film will probably play best to fanboys who love "Power Rangers" and "Ultraman" -- and there are plenty of them to go around.

The film is at odds with itself, trying to present transgendered characters as resourceful and tough as nails while the plot habitually reduces them to traumatized masochists and helpless victims.

Overall it's a funny film, but parents should decide if the anti-gay and misogynist elements are worth the laughs.

She's an adventurous, occasionally reckless filmmaker who deploys a full arsenal of cinematic flourishes, but Lemmons' lack of restraint gets in the way of her storytelling.

A film for fans of this alternate universe of movies that flourished as soon as the 1934 Production Code effectively excised most prurient, violent and otherwise titillating material from Hollywood films and withered in the '70s as mainstream movies finally caught up with the indies.

If it were possible for an entire state to sue for defamation of character, Iowa might have a strong case against writer, director and star Matt Farnsworth.

Far and Away plays like a theme park attraction: viscerally exciting but detached, impersonal and dull.

Worth seeing, if only for the great cast and John Alcott's always-impressive photography.

As a film, it is earnest, cliched, often awkward and unlikely to inspire anyone who isn't already thoroughly sold on its message of salvation through community activism.

A ludicrous foray into psychological horror.

SUBWAY is DIVA with no brains--a film of all style and little substance. Ah, but what style!

Readers hate to see their favorites messed with by filmmakers, and though devotees will notice changes from Brashares' novel -- some slight and some more substantial -- the film remains true to the book's spirit, and the deviations shouldn't alienate them.

Fun at times, but somewhat long.

Garofalo and Thurman breathe some eccentric life into the cliches, and charming Chaplin is a walking warning to Hugh Grant, almost adorable enough to warrant all the trouble.

There's also precious little chemistry between the players. Only Mol has any charm of which to speak, and, frankly, she deserves much better.

Here the message -- it's not nice to ridicule, mistreat or ignore people just because they're different -- verges on the oppressive; more of the Farrellys' trademark over-the-top comedy would have lightened the load.

Though smartly written and handsomely produced (the film's visual polish is remarkable, given its modest budget and the swanky settings the story dictates), this film would benefit greatly from more bite.

This stodgy film version of the famous Broadway success was one performance too many.

There's nothing hugely original going on here, but as twisty-turny crime thrillers go, this one is perfectly entertaining.

This beautiful but notoriously disappointing film is one of the most overblown epic Westerns of any decade.

The film is an encouraging effort from McCrudden -- he manages to avoid the staginess of the recurring two-characters-in-a-hotel-room set-up -- and features a standout performance from Williams.

Performances are really what count in a character-driven romantic comedy like this, and each is well above the indie average.

It's periodically enlivened by unlikely cameos, including Lou Diamond Phillips as an undercover cop posing as a transvestite hooker and Gladys Knight as a forgotten Motown singer.

The original Carly Simon songs are well performed, but their soothing lullaby qualities may cause those with short attention spans to nod off.

The film's meandering narrative, melodramatic conclusion and underdeveloped characters overshadow the genuinely shocking abuses it condemns.