The action is ridiculously overwrought, a state-of-the-art combination of CGI wizardry and Hong Kong-style wirework so removed from the laws of physical reality that it might as well be animated.

It works, in the end, because its generous emotions are earned. De Niro mugs a bit, but Penn is surprisingly endearing as a naive young criminal looking for a little peace of mind.

Connery and Boyle are fine, but the wholesale lifting of High Noon's plot (there's even an on-screen digital readout periodically displayed, counting down the minutes until the big confrontation) certainly undermines interest. 

The entire cast give standout performances, but Herbie steals the show in this well-directed, funny picture.

Ultimately it's all too predictable.

This is a fast-paced movie with a bright and witty script and plenty of scary adventures which Durbin cleverly manages to survive.

Blake Edwards's obssessive concern with cross-dressing and sexual role switching has hopefully been purged in SWITCH, an obvious, dim-witted rehash of GOODBYE CHARLIE, saved from total failure by Ellen Barkin's bright, energetic slapstick performance.

A few moments of black comedy and some pointed jabs at contemporary Japanese society cannot redeem this plotless, graphically gruesome ordeal.

Although Eaten Alive is not so unusual or terrifying as Texas Chainsaw, Hooper does a fine job of building up the Southern-gothic atmosphere and continues his brilliant use of sound to enhance the sense of unease and suspense.

The film is carried by Downey, appearing in his first starring role. Ringwald, while performing adequately, just doesn't seem right for the part. Toback has devised an interesting premise that draws parallels between risking one's heart and one's wallet, but the picture itself risks little.

Under the veneer of hip lies a bland romantic comedy wrapped in a layer of less-than-biting lifestyle satire, whose single most authentic moment involves an old woman and her scruffy mutt Buddy. Not cool.

Wongpim pays tribute to classic Italian Westerns in his face-hugging close-ups, but his film is more silly than existentially anarchic, and its exotic quirkiness wears thin quickly.

Between the stereotypes and endless tire screeching, there isn't much to care about here.

Glossy trash with the star at full throttle, it's the quintessential La Liz movie.

A fresh and spirited fairy tale.

It's a testament to both the timelessness and the prescience of Herman Melville's 1853 story "Bartleby, the Scrivener" that it can be so easily updated with so few changes.

One hundred and nine minutes of drama and not a single moment rings true.

While the hand-drawn animation is visually appealing, the story is completely predictable and Phil Collins's music lacks the impact of his Oscar-winning "Tarzan" tunes.

The film basically follows Moore and Slater's book, but without the details that reveal the strange complexity of the Bush-Rove symbiosis.

An improvement over the tedious "Saw II" (2005), this second sequel to the surprise 2004 hit still features the series' trademark gruesome "games" but shifts the focus to the relationships among the characters.

The character relationships are solid and there's blessed little in the way of smug, smart talk

God bless Jennifer Tilly, who attacks her role in this third sequel to 1988's killer-doll picture CHILD'S PLAY with incomparable slutty brio.

Rae's 80-minute film isn't able to answer every question or flesh out important details of these events, and she spends more time on Trudell's artistic endeavors than on his direct political action.

This early Hitchcock talkie shows none of the mastery that would subsequently make the director an internationally recognized genius.

Surprisingly heartfelt tale.

Neither the appealing cast nor the bouncing, ska-inflected soundtrack can keep the party going.

This modest little moral thriller is a pleasant surprise.

Has honorable aspirations, even as it becomes mired in mainstream movie conventions.