An amazing artifact; the decor and lighting mix '70s tackiness with odd '50s touches, the sound design is elaborate.

This moody film is ravishingly beautiful to look at -- but the story's fairy tale atmosphere doesn't entirely mesh with its psychological underpinnings.

Meanwhile Baldwin (bulked up a la DeNiro and playing totally against type), is a revelation, funny and touching.

None of this is especially funny, nor is it particularly exhilarating; at best it's throwaway entertainment.

McTiernan's extensive action background is nowhere evident in the murky, all-but-impossible to follow battle sequences.

Chilly, muted and refreshingly free of cheap shocks, this stylish psychological horror tale is greatly enhanced by subtle (acting) performances.

Some good lines notwithstanding, this is a real disappointment.

The cast is aces, and Peter Morgan's screenplay is both very sharp on male sexual politics and crammed with enough comic twists and turns to keep you interested.

The plot is Kate-Moss thin. Basically agreeable stuff, but not much more. And that's a shame.

Neither very dark nor particularly funny.

What begins as an entertainingly contrived lark soon feels like a poorly plotted muddle.

Plenty of bone-crunching brawn, but not a brain cell in sight.

It won't take genre fans long to unravel the mystery, but the pleasures of this film lie elsewhere. Its images of the gleaming, depersonalized Tokyo in which Mima lives out her superficially charmed but lonely life are haunting, and the characterizations are unusually strong. There's plenty for anime newcomers to enjoy, and fans won't want to miss it.

Overall it's a colorful, diverting cautionary tale.

Feels soft without being especially affectionate, and only sporadically funny.

A very sweet, very funny coming-of-age story, featuring Kiss as the Great White Whale of adolescence.

The not-so-incredible story of two girls in love.

God moves in mysterious -- some might say positively spiteful -- ways in this trio of scabrous tales adapted from short stories by "Trainspotting's" Irvine Welsh.

It's enjoyable poppycock.

This loving parody is steeped in comic book trivia and lore: The more you know, the more heartfelt your response to the film is likely to be.

(Rohmer's) simple script and methods capture a sense of place and character that eludes far more conspicuously stylish directors.

A sloppy, self-indulgent valentine to the theater, delivered with all the grace of a letter-bomb.

A rare adaptation that actually improves upon the original material: It's everything a good children's adventure tale should be, and a powerful fable for adults.

Buried deep inside this ponderous, repetitive psychological thriller is a fantastic half-hour "Twilight Zone" episode.

A topical comedy that's about 25 years too late.

Lack of chemistry between Richard Gere and Julia Roberts sinks this souffle.

A slow and pensive tone, but for all its lyrical pretensions it lacks real poetry.

The characters are two-dimensional and the story is intensely formulaic.