While Jones' direction is nothing special, the script by Brown does have its share of male ego-deflating laughs--mainly some obvious Freudian jokes--and actually takes some time to develop the victims as characters instead of mere gore-fodder.

Many of the script's observations sound as though they were lifted directly from the pages of Baxter's book, and they're too platitudinous to impart much wisdom to anyone who's been in and out of love at least once in his or her life. But it's nice to see these ideas played out by a fine cast.

A stylish but disappointing spoof which lacks the satiric gusto of director Pedro Almodovar's earlier works.

Though not as good as Terminator, the film has a better-than-usual script for this sort of thing and shows a lot of humor. Schwarzenegger isn't especially good as an actor, but his presence is impressive, and he is beginning to show some style, if not much substance. For action fans, one of the picks of the litter for the year.

There's very little plot, and director Mangold's attempts to make a connection between the social confusion of the '60s and Susanna's inner turmoil don't really work.

The characters may be one-dimensional ciphers with nothing much to say, but boy, do they not say it with style.

A thoroughly conventional exercise in pop paranoia with trendy appurtenances, The Net has little to offer outside of Bullock's moderately appealing presence.

Ford is the problem: He looks great for his age (56, to Heche's 29), but oozes a stolid gloom that snuffs out those sparks long before they can set the lush scenery on fire. In a classic screwball comedy, he'd be Ralph Bellamy.

This wry, low-key comedy, crafted by members of the sketch-comedy group The State, swims defiantly against the stream of contemporary comedy, eschewing bodily-function jokes and obvious gags in favor of laughs so sly and self-effacing you could almost overlook them.

Peculiar but oddly winsome fable.

Joe himself is an amazing creation, less personable, to be sure, than the original lovelorn King Kong, but a far more fully realized character than any of the flesh and blood humans by whom he's surrounded.

Hitchcock's handling of the comic material was praised by contemporary critics, and modern-day fans of his work will see many directorial flourishes that hint at the mastery he displays in later films.

The product is an ambitious but awkward movie that jumps forward and back in time; voice-over narration fails to smooth over the choppiness. Nevertheless, it's studded with haunting, melancholy sequences, and Jeff Bridges is one of a handful of contemporary stars with enough stature and substance to carry off Hickock's mythic resonance.

The strong cast keeps the material from descending into sheer smutty tripe, but it's an uphill battle and in the end, not really worth their considerable efforts.

The film is filled with sight gags and features a wonderful performance by Harris.

Kidman accomplishes a remarkable feat of transformation, adopting not only an accent, but a slightly seedy, faintly feral demeanor that almost makes you forget her icy good looks and fashion model's figure.

The film often teeters on the brink of melodrama and is saddled with a sappy original score.

Team M-I knows its way around James and ignores the lazy stereotype of Americans as gauche rubes bumbling around Paris like barbarians at the ballet in favor of sly digs at French and American mores alike.

Like any good soap opera, the script deftly flits among story lines, offering just enough tantalizing plot development to keep you sticking around for another bite.

The film is surprisingly successful in developing a sense of mounting dread.

This amiable comedy may not be hugely sophisticated, but Hogan does manage to make his attractive leads look like complete idiots, no mean achievement in image-obsessed Hollywood.

Grisham's characters are rudimentary, and both Roberts and Washington are stiff and over-earnest.

A fierce and often compelling actor, Nick Nolte usually creates a riveting character, and when that character is coupled with a good film, the end product is something worthy of watching. Such is the case with EXTREME PREJUDICE, despite its abundance of violence.

The direction is slack -- it's Lloyd's first feature film and it shows -- the choreography clumsy and every ten minutes there's yet another gratuitous showstopper shouting in your face and insisting you have a good time.

while many reviewers were put off by Splinter's rheumy-eyed philosophizing and the Turtles' ninja antics, the movie's youthful target audience squealed with delight.

Aside from an inspired bit involving a pair of sycophantic starfish, it's amazing how unimaginative a movie about a mermaid can be, and it's sad how thoroughly its girl-power stylings devolve into a muddle of mixed messages.

Walks such a fine line between what separates dreamer from stalker, that the film he made about it ellicits a variety of responses.

An anemic adventure that epitomizes generic feature animation.