The main attractions here are Greenaway's densely textured compositions, each one a triumph of symmetry and design.

There are only short bursts of action in between nearly endless talk in the Clements script. Despite a huge cast of very competent actors the film misses the mark.

Unceasingly vulgar and sporadically funny, this revenge comedy rests heavily on the shoulders of former SNL wiseacre Norm Macdonald.

In the final analysis it all feels very much like a successful acting exercise that while psychologically acute, doesn't really bring much more to the table than what we've already gleaned from a few episodes of "Oz."

The film suffers from some action and plotting that is questionable in a children's film. The villain is far too malignant, the young vigilante hero seems to be a kiddie Rambo, and some of the action is quite violent, if not tasteless.

Love Story is actually better than Segal's previously released best-seller (written from his screenplay in order to promote the film). But then that's not saying much.

By now the "Ten Little Indians" method of killing characters one at a time has gotten so stale that no matter how impressive the monster is, the resulting sequence is inevitably tedious.

While the filmmakers haven't bothered to come up with a novel approach to very familiar material, the final product is a reasonably entertaining film that will interest children without putting their parents to sleep.

This strikingly beautiful anti-western is filled with arresting images.

This energetic hip-hop musical barely supplements the large-scale musical numbers with its cliched plot, but it does capture a sense of the break-dancing craze and is more entertaining than most of the films made to cash in on that trend.

Though filled with witty lines, fast-paced overlapping dialog, and screwball situations, this film too often sinks to Police Academy-style stupidity. The only reason Who's That Girl works at all is because of Madonna and Dunne.

Suspenseful throughout most of its running time and exceedingly well shot, ROAD GAMES collapses at the end. The confrontation between Keach and the killer is a let-down. Although director Franklin has definitely studied his Hitchcock (he would go on to direct PSYCHO II), his film lacks the psychological depth of the master's work. Keach, however, is very engaging as the eccentric hero.

The end result is a series of stylish vignettes, some entertaining and all variations on essentially the same theme.

Grace fares better than Linney, and both escape with more dignity than Harden, whose blowsy, wanton Missy is a coarse, soap-opera caricature of a suburban hoyden.

If you're charmed from the outset, this is an enjoyable trifle; if you're not, it never gets any less mannered and convinced of its own wit.

Unfortunately, the remake is as toothless as the original and gets bogged down in the humiliations of the Harpers' down-slipping life.

The film is relentlessly formulaic -- it's like a super-sized Afterschool Special with PG-13-rated bad language -- and is weighed down by Trevor Rabin's bombastic score, which telegraphs the appropriate emotional response to every feel-good moment.

Armstrong is fortunate to have the luminous Blanchett, who, along with her equally fine supporting cast, helps compensate for what the film lacks.

Sarandon is terrific and Penn is in top form, but the film is an achingly earnest message movie with a curiously muddled message.

The whole thing is fun for 11-year-olds of all ages.

Though many of the risks she takes don't pay off, Elster's film contains a number of stylishly staged set pieces.

There are some good moments in SOUL MAN, but Gross steals the picture; he has the best lines and makes the most of them.

The characters are two-dimensional and the story is intensely formulaic.

Overall, this is a fuzzy, unfocused drama that bites off more than it can chew, or viewers can digest.

There are some decent special effects, but overall it's about what you'd expect from a movie inspired by a line of toys.

The title refers to a diorama at New York City's American Museum of Natural History that depicts a whale and a giant squid locked in mortal combat.

The film's Buck Rogers-style graphics are cool, but the shrilly squabbling brothers -- realistic though they may be -- are insufferable, the story's your-turn/my-turn structure is tedious, and its relentlessly reiterated message about brotherly love and cooperation is really grating.

Wobbles unsteadily between broad humor and paranoid thrills. The result is a bland muddle.