The film's much-vaunted stunts are deliberately unrealistic, from over-the-top wire-work to CGI-soccer balls that streak through the air like flaming cannon balls.

It's repetitive and obvious but somehow endearing, like a truly ugly dog with sweet eyes.

In the end, Spacey's devotion to Darin may have blinded him to the bigger picture.

Connery delivers his usual charming performance, and Brandauer (MEPHISTO, OUT OF AFRICA) makes a great Bond villain. Gone is the excessive gadgetry that mars Bond films, and, as a result, the characters are more prominent and colorful.

For all its maturity - and nice performances from Johnson and Phoenix - the film winds up dancing around the 500-lb gorilla in the middle of the room rather than facing the pathology of its real subject head-on.

Hallstrom's leisurely adaptation of John Irving's unconventional coming-of-age novel is so well crafted and intelligent that it feels churlish to point out that it's easier to admire than actually like.

Gets the details right while missing the big picture.

Overall it's slick, brainless entertainment.

As so often happens in Hollywood, what is advertised as daring and provocative turns out to be glib, essentially tame, and largely soporific.

The real trouble is that the filmmakers consistently choose gags over character.

Overall, it's an interesting experiment, but the idea is stronger than the end result.

Silver Streak is a throwback to the screwball comedies of the 1930s but with none of the verve or the motivation needed to get an audience to swallow the shenanigans.

This film, with a whole new cast of miscasts, is even more mindless than its predecessor.

The picture is long, beautiful, and dull.

Baker stars as real-life Tennessee sheriff Buford Pusser, whose one-man battle against gambling, moonshine whiskey, and prostitution in his county elevated him to folk-hero stature in three movies.

The quintessential cotton candy movie: It's pleasant, brightly colored and the minute it's done it's as though it were never there.

Courtroom dramas that favor the courtroom over the drama are always in danger of eye-glazing dullness.

A nicely told, occasionally highly emotional story, but the main purpose of the film seems to be to give writer-director Elia Kazan an excuse to pat himself on the back.

The film's conceits grow thin and von Trier's mocking, hectoring tone tiresome.

One of the most enjoyable films of the summer, Critters harks back to the low-budget science fiction films of the 1950s and balances the thrills with heavy doses of humor.

The script, based on a Dark Horse comic-book series, is hugely predictable, but the robot effects by veteran Phil Tippett are nastily entertaining.

Violent tale of a man who comes into a town run by rival gangs--this time it's the Ku Klux Klan and Mexican bandits.

The ending doesn't really work, and Pla tends to overplay what's already a larger-than-life character, but Neron is perfect as the striking and cucumber-cool countess.

The results isn't especially engaging, despite a quietly charismatic performance by Weiss, a relative newcomer who holds his own against far more experienced actors.

It's often a pleasant diversion, and much more entertaining than LOOK WHO'S TALKING 2, which over-extended the talking baby tricks.

It's hard to imagine anyone who isn't familiar with Graham and her place in 20th-century dance history getting drawn into Move and Herrmann's hall of Martha mirrors, but for the right viewer it's a fascinating exercise in self-reflexive mythmaking.

The gadgets are up to the usual Bond standards, but fancy effects do not a movie make, and 007 is less satisfying floating around in space than when his feet are more or less firmly planted on the ground.

A throwback to the slickly entertaining melodramas of Hollywood's golden age.