Most of the plot twists are confusing and haphazardly developed, leaving the movie as little more than an excuse to show off Stan Winston's admittedly effective gore effects.

Destined to be a crowd-pleaser though it may be, this collection of Irish quirks and "charm" tied together by a slender plot also leans heavily in the direction of predigested commercial claptrap.

The action sequences are well staged and the twists and turns of the convoluted plot will keep viewers guessing. A competent and unpretentious entertainment.

Romero isn't a subtle filmmaker -- the sociopolitical underpinnings of his DEAD films have always been brutally clear -- but LAND is alive with subtle touches.

Cynical, misanthropic and embittered.

Good direction and fine performances keep the pace of this lengthy film moving and prevent the material's descent into maudlin sentimentality.

Silly, fun stuff, with a good supporting cast.

Its assets are considerable: affecting performances (especially Irma P. Hall as blind Aunt T.) and sharp writing.

The fewer movies like this you've already seen, the better this one will play.

Working from a script by TV actor Dylan Haggerty, Araki manages to capture what he's been trying to say all along about the lives of the stoned and indifferent with the kind of effortlessness those earlier attempts sorely lacked.

Important, awareness-building documentary.

An intelligent story for the kilts-and-corsets crowd.

At times it is fascinating, at other times pure Memphis cornpone.

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

There is plenty to amuse and delight here, including fine performances from Michelle Pfeiffer, Matthew Modine, and Dean Stockwell.

The period detail is evocative, Watson and Etel are particularly good, and baby Crusoe -- a computer-generated image seamlessly woven into the live action -- is a slippery little star in his own right.

More gripping than anything on Court TV and unexpectedly uplifting.

A surreal, demented delight.

The material is familiar, and doesn't have anything new to say about the ways men and women wound each other.

The always charming Deschanel manages to rise above most of the film's logy pretensions, but the usually excellent Clarkson isn't so lucky.

The high-profile cast -- play their roles with just the right mix of seriousness and tongue-in-cheek self-awareness.

This breezy romantic trifle isn't nearly as clever as it imagines itself to be, but it's smart enough not to take itself too seriously.

Moviegoers expecting a conventional sci-fi fantasy will be disappointed; Haneke never explains the vague disaster, nor does he offer any definitive solution.

Razvi, once a pushcart vendor himself, is particularly good; he brings a visceral poignancy to a character who comes to represent every desperate soul who ever tried to make it in the land of plenty.

A landmark in Black filmmaking in the U.S., this angry, extravagant, loud, belligerent movie reaches a high pitch early on and stays there.

The film features a surprisingly good performance by Rock Hudson, an impeccable supporting cast and stunning cinematography by screen veteran James Wong Howe.

Cynically witty lines, top-notch characterizations (Ann Sheridan is a delight), and welcome guest appearances by Jimmy Durante (as a Harpo Marx figure) and Reginald Gardner (doing a take on Noel Coward) make for classic comedy.

Unlike, say, David Cronenberg, who manages to establish a crucial, critical distance between his audience and his schizophrenic protagonist in his adaptation of Patrick McGrath's similarly themed "Spider," Carrere re-creates the insane mind through his camera, and diffuses his point about subjective experience by inadvertently raising questions about truth and the movies.