The production design is phenomenal, reproducing the series' swinging '60s decor and techno-geek flourishes, from the launch pad under the swimming pool to Lady Penelope's pink roadster, which turns into a mini-plane.

Despite its admirable sobriety for most of its running time, the film's climax is a parade of ludicrous clichés.

Hardly a feather in the cap of anyone involved, the film starts out well enough, but the last half degenerates into complete implausibility.

Cronenberg's brand of body horror isn't to everyone's taste, but to call him a reactionary anti-sensualist who metes out grotesque punishment for sins of the flesh -- as detractors have -- is to miss the point.

It's little more than a disjointed succession of kick-ass action scenes.

The film nevertheless exerts a strange sort of power that makes for compelling viewing, even as its images force one to repeatedly look away.

The verdant, lush Hawaiian setting is visually stunning but the slapstick is forced and unbecoming.

Only a riveting performance by Jodie Foster lifts THE ACCUSED above the level of a television movie.

The supporting cast is a riot of stock exotic characters, verging on the offensively stereotypical.

A sluggishly directed look at life and death in the 21st century.

CHAPLIN is the cinematic equivalent of a whistle-stop tour of Europe--the kind that takes you to ten cities in five days at such speed that everything melts into a vaguely entertaining blur.

Breezy and carefree, THEY ALL LAUGHED suffers from a weak, hard-to-grasp structure. As lovable as the characters and their situations are, one is never quite sure where the film is leading.

Director/co-writer/co-producer Jon Gunn's Christian agenda is evident without being intolerably sanctimonious, and he's a competent filmmaker who shows sign of having a little style.

Sensitively played but ultimately undone by its unconventional approach.

A goofball gore picture with aspirations to cult status.

A successful thriller makes you forget such impossibilities, but here they poison every scene.

This picture was the third remake (out of four) of the Peter B. Kyne story, with its Three Wise Men parallel.

First musical to win Academy Award reeks of mothballs, but is undeniably the basis of perhaps a hundred others. At least there's an old curiosity shoppe charm and a few classic tunes.

Renny Harlin's big, chaotic pirate flick is best understood as an attempt to revive the waning career of his wife, Geena Davis, but he's done her no great favor. As Morgan Adams, a sort of distaff Errol Flynn, poor Geena gets lost in a hectic scenario that's littlemore than an excuse for a series of thunderous explosions, clanky sword battles and run-of-the-mill spectacular stunts.

FOOL FOR LOVE is a great play, and the performances from the cast are solid--especially Stanton's and Shepard's--but as a film the whole thing seems rather contrived and stiff.

A slam-bang action film with some stunning scenes of mayhem and violence.

The set design, by future director Derek Jarman, is probably the most successful element of the film.

CAREER OPPORTUNITIES is an entertaining film with interesting characters the viewer can actually care about.

This is a shameless, straightforward soap opera (no Almodovarian excess here!), but it's pretty entertaining on its own sudsy terms.

Despite earnest performances by Mueller-Stahl, Bierko, Mol and Vincent d'Onofrio (in the duel role of a programmer and a VR bartender), the movie feels like a bit of a rehash.

A romantic comedy distinguished by the particular roadblocks writer/director Kevin Smith throws up in front of his characters.

An unvarnished look at the emotional havoc that ensues when middle-class housewife Kira (Stine Stengade) returns home after a lengthy stay in a mental hospital, anchored by devastating performances.

Granted, it's unfair to compare an actor's precocious child persona with his awkward 14-year-old self, but Osment relies so often on his furrowed brow to convey emotion that you have to keep reminding yourself that the technique actually worked in "The Sixth Sense."