A surprisingly assured directorial debut that is hampered only by a weak script.

All the right intentions but never overcomes the essential problem of showing what's going on inside people's heads.

Though technically efficient, convincingly acted, and having a number of subtle messages, Swiss Family Robinson was still a hefty loss to RKO.

There's way too much CGI gadgetry, some inventive, much simply flashy in the worst kind of video-game way. The kids are nearly lost in the glitz.

Gosling is the film's salvation: He really is good enough to make this underwritten fantasy feel as though it amounts to something. But it doesn't.

Cusack makes a half-hearted attempt to connect with Coleman, but chemistry is fatally absent and small wonder: Dennis is a unsettlingly strange creature who could well be from another planet.

It's all about action and ogling -- Jolie's boobs, butt and thighs get so much screen time they deserve their own credits.

There isn't enough by way of a story here to keep director Rosser Goodman and writer-star Brent Gorksi earnest but lethargic drama about a romantically stalled Angelino from petering out as well, but some decent performances from the likeable cast may be enough to hold your interest.

Forget about social significance, depth of character and complex thematic underpinnings, and repeat after me: "It's only a werewolf movie."

A competent, if unremarkable, espionage thriller that is enjoyable while it lasts and forgotten moments after the credits roll.

Cushioned by money - which frees him from needing to work and allows him to fly around the world looking for his past - Bruce is attractive and well-spoken but not especially interesting, which leaves a yawning void at the story's center.

Performances from the two principals are as developed as the frequently convoluted script allows them to be.

Impressively stylish but curiously empty.

It all feels like an insubstantial short that's been stretched to the breaking point.

Contains striking moments, but never coheres.

Although the first hour of BAND OF THE HAND is fairly engrossing as we watch the rowdy, explosive teens slowly discover self-worth, respect for others, and teamwork under the stern guidance of Lang, the rest of the film dissolves into a teenage DIRTY DOZEN that seems to condone and encourage vigilantism. Major conceptual problems aside, BAND OF THE HAND does feature a solid performance by Lang.

Their mania might be funny if it weren't so creepy.

The supersonic jet takes center stage, sparing audiences from most of the babbling of the two-dimensional characters.

The scenes from Epidemic have the high-contrast look of a 1920s horror film, are in English (much of it badly dubbed) and feature images that are handsome and preposterous in equal parts -- they're amusing, and too stylized to be disturbing.

A fascinatingly obtuse puzzle box that manages to be gripping even after it stops making sense.

It's hard to tell whether Attal means the fictional Yvan to be such an colossal jerk. His abrasive obnoxiousness undermines the film's generally light tone, and seriously deflects sympathy away from his character's dilemma.

Players give excellent portrayals, but the picture is lacking in both setting and direction.

Tame as can be by today's standards, but will charm fans of vintage erotica.

This modest little moral thriller is a pleasant surprise.

The film's greatest asset, however, is its unusually authentic use of Manhattan locations: Younger clearly knows New York much better than the topography of the human heart.

The boys' laddish catchphrase -- "Shut up!" -- is particularly irritating, especially since they never do.

Bopha!'s intentions are all good, but it preaches (and that is the operative word) to the converted.

LIKE FATHER, LIKE SON is idiotic at times, cute at others. Cameron shows a lot of charm, and the movie is a pleasant diversion.