The extensive CGI work is well used and the children are exceptionally well cast, especially the girls.

Branagh's use of trendy extended tracking and steadicam shots is sometimes distracting, but overall this is a jouyous romp whose forced jollity is only occasionally wearing.

A dark delight that combines pop-culture wit and genuine emotional depth.

The film's heart is the concert, whose highlights include "Where Have All the Flowers Gone?," "Wimoweh," "Guantanamera" and the crowd-pleasing "Have You Been to Jail for Justice?"

A fine Disney product scripted by cartoonist Key, who is also credited with Gus and The $1,000,000 Duck.

There have been a number of worth documentaries about gender-benders who cross every conceivable line, but Tomer Heymann's film about a group of Filipino cross-dressers living in Israel is a drag doc with a difference.

The attention to movement and detail is stunning, with multiple layers of action filling the frame. The highlight of the film, the fight with the dragon, is terrifying, exciting, and brilliantly executed, though some youngsters may find it a bit too scary.

Funny, perceptive, bawdy, tragic and philosophical, pretty much everything a viewer -- or a listener -- could ask for.

Watching Binoche dithering about an American comedy takes some getting used to, but she's a believable soul mate for the hangdog Carell. The rest of the family, however, has got to go.

A lavish parody of/homage to Hollywood big business comedies, The Hudsucker Proxy is gorgeous but lifeless, a very small joke writ very large by the talented but perversely insular Coen brothers.

An exciting film, and one that proves that even the most exploitative of films can make a relevant statement.

Micki & Maude has some very funny scenes and excellent acting from all the performers. It begins a bit slowly but builds well and winds up in a comic celebration.

Everything a disaster movie should be, a combination of soap opera and the spectacle of destruction.

Eleventh-century Spain has been lavishly recreated by Mann and producer Samuel Bronston. The photography by Robert Krasker is spectacular, as are the battle scenes, filmed with the help of veteran stuntman Yakima Canutt as second-unit director.

It offers some excellent performances, crisp direction, and overall professionalism of the entire cast and crew. What keeps it from being a great western (like FORT APACHE or HIGH NOON) is that the audience is seldom involved in the lives of the riders other than in a peripheral sense.

Rapp's theatrical past is evident throughout: His strongest scenes tend to be those purely character-driven moments when his sharp dialogue takes precedence over any cinematic action. Harris gives another strong performance and Ferrell is great in a comic but low-key role, but this is Deschanel's movie.

If you enjoyed the robo-spastic ride the first time, then you should be happy with this movie, too. And if you complained that the first movie was trite and lacking in character development, then you probably shouldn’t even be reading this.

Featuring some astonishing acting from the highly trained animal stars and some beautiful shots of the Canadian high country, this simply told, episodic tale is great for kids and not too bad for big people either.

The pleasant surprise about Demolition Man is that both the script, and Stallone, are funny; the film blends big-budget action and tongue-in-cheek humor in the way that "last action hero" tried, and failed, to do.

This is a poignant if predictable take on the English class system, buoyed by an effervescent performance from Walters.

It's all confusing, woozy and slightly stoned, and feels very much like adolescence.

While WHAT'S UP, DOC? may not be as great as the classic screwball comedies of the 1930s and 40s, director Bogdanovich has delivered a film with energy, wit, and a madcap pace that is well worth watching.

Cruise is downright scary. It's the creepiest -- and most entertaining -- performance since his unforgettable appearance in that Scientology video.

Firm dates and more detailed historical background would have better served the filmmakers' purpose than their "chronological narrative relay race," which muddles an already complex situation.

SIRENS is a rare, genuinely erotic film that's a pleasure to watch even when its characters are fully clothed.

Location shooting gives this intermittently powerful film a semidocumentary feel.

Taut, cynical thriller.

For all the impending doom, the film remains suitable for kids of all ages (the filmmakers even end on a happily reassuring note that is at odds with the film's overall message).