Although it looks like an action thriller with a sci-fi twist, the bad guys aren't scary (Biehn's soul patch notwithstanding), the sci-fi element is silly and the action is limited to some extreme bike riding and computer-generated zipping around.

A well-crafted exercise in urban paranoia that's so controlled it never achieves the reckless, visceral immediacy its subject matter demands.

It doesn't meet the minimum number of laughs to qualify as a comedy -- two would have clinched it -- and it's far too asinine to be taken seriously.

Ribisi is painfully intense without being histrionic.

The sequences are handsomely designed, but frankly, you might as well be watching someone play a video game.

Though overall an overwhelmingly positive portrayal, the film doesn't ignore the more problematic aspects of Brown's life.

All's well that ends well, and rest assured, the consciousness-raising lessons are cloaked in gross-out gags.

The cast is uniformly excellent -- Pryce in simultaneously utterly horrible and a real hoot as the wildly egomaniacal paterfamilias -- but the film itself is merely mildly charming.

Sensitive and expertly acted crowd-pleaser that isn't above a little broad comedy and a few unabashedly sentimental tears.

The film's ensemble portrait of women caught between nostalgia for the tough and free-spirited babes they were (however much that freedom may have been illusory) and uncertainty about what their futures hold is almost painfully on target.

The result is something truly special.

Insightful, Oscar-nominated documentary.

Captures the sleazy allure of Manhattan like no other film.

Raggedly produced, savagely funny movie.

Handsome and sometimes creepy, but formulaic in the extreme.

For what could easily have been a slickly vulgar variation on "American Pie" or "Porky's", this libidinous comedy explores some unusually complicated territory, and benefits greatly from Verdú's unpredictable performance as Luisa.

As Lord Peter Carrington, former mediator of the European Community, points out, a case can be made for all sides in this highly complicated civil war.

This one makes De Niro's recent film "15 Minutes" look like "Network." Even worse, aside from a few scenes with Shatner, it just isn't funny.

Making such a tragedy the backdrop to a love story risks trivializing it, though Chouraqui no doubt intended the film to affirm love's power to help people endure almost unimaginable horror.

No matter your age, this is one great AGE to be at.

These three films form a remarkably cohesive whole, both visually and thematically, through their consistently sensitive and often exciting treatment of an ignored people.

With its brisk pace, breezy dialogue and gently jaundiced view of the rites of filmmaking, this is one of Jaglom's most accessible and genuinely enjoyable films.

Meng's film, which uses a fairly sophisticated flashback structure to reveal the secrets of Ah Na's past in China, touches on a number of very serious subjects: the business of illegal immigration, the exploitation of "aliens" and the treatment of people with AIDS in China. But it's also filled with touches of humor.

They STILL didn't get it right this TIME.

Oddly, the most appealing thing about the movie is that in an age of ever-escalating special effects, it's refreshingly low-tech, more like a '70s action movie than a modern-day one.

Who these brave men were and why they fought disappears under the usual clichés, while the astounding acts of courage that occurred at Ia Drang are lost to the dust and din.

Ranks among the best films ever made about the acting profession.

Given the serious subject matter, this adaptation of Irish writer Brendan Behan's autobiographical novel is surprisingly light and exceedingly good-natured.