This flamboyantly operatic anti-war film takes getting used to, though it leaves you with memorable images of madness, both poetic and military.

One would have to be totally tone-deaf not to notice that the director, Andrew Davis, has inflicted a broad cartoon style on adult performers who are distinctly uncomfortable with it.

A magnificent documentary that flies us along with migratory birds on their intercontinental travels, it's the polar opposite -- North Pole, South Pole and all latitudes in between -- of modern feature films that rely on special effects.

I laughed myself silly through most of A Mighty Wind, and was pleasantly surprised when it took a turn toward genuine feeling near the end.

It's slapdash, crudely crafted and resolutely adolescent. And occasionally, though only occasionally, very funny.

Breathes new life into a familiar story: coming of age in high school.

If only there'd been a chance to contemplate the legend in blessed silence.

For all its seriousness, though, Levity struck me as pretentious and intractably lifeless.

Young audiences may welcome this movie, but girls, and boys, should want more.

Provides a reminder of the power of unadorned drama and language -- whole torrents of eloquent words -- in the service of a nifty idea.

Of the original and the remake, only one film feels authentic, and it's not The Good Thief.

Built from an alloy of absurdium and stupidium, with the latter, heavier element dominating the mix.

I loved this movie, and I wish it could be seen by all those kids who turn out every weekend for shoddy studio comedies that show them who they'd like to be. Raising Victor Vargas shows young lovers as they are.

An odd little thriller that celebrates, in order of importance, Mr. Duvall, tango and his real-life significant other, Luciana Pedraza, who makes her attractive debut as a screen actress and, yes, tango dancer.

I must confess that I was outsmarted by the ending, but by that time my brain had been bludgeoned into a state just north of stupor.

This is silliness of such a special grade, performed with such zest, that it makes you forgive and even forget the movie's foolishness and borderline incoherence.

All the same, it's a feat to find the lowest common denominator at 40,000 feet; View From the Top would be perfect as the first in-flight offering of the new Hooters airline.

This horror-free horror flick sent me wandering through my own memory warehouse, where, at every turn, I bumped into images from similar -- and mostly superior -- entertainments.

This comedy is harmless, too, when measured against the vast array of harms that the world has to offer. It's also stupid, strident, witless, pitifully inept and bad for what ails you.

Everything that was modest, soundly grounded and therefore horrifying about the 1971 rodentarama that starred Bruce Davison is now insistent, Grand-Guignol-intense and therefore shrug-offable when it isn't downright awful.

Aspiring to pure action -- several very long passages are wordless -- the movie ends up teetering on the brink of self-parody.

It's going to be a hit with libidinous boys, and their parents could do worse (see first review) than to watch the lavish, James Bondish gadgetry and cheerful anarchy of an action-adventure that's been made with all the finesse it needs, though not a jot more.

I'm still smiling as I recall Jess, the soccer star-to-be, standing behind her straitlaced mother in the kitchen and casually bouncing a head of lettuce on her knee.

Relevance can't rescue this would-be epic from the swamps of inertia, absurdity and sentimentality.

Everywhere in Nowhere in Africa, skill and art translate into vivid life.

A romantic comedy of grace notes and mini-epiphanies -- mini, that is, except for Ms. McDormand's Jane, who is memorable to the max.

If you go to see this sloppy sitcom, in which Mr. Martin plays a divorced, repressed lawyer named Peter Sanderson, do expect to be surprised, seduced and entertained by Queen Latifah.

To get to the beginning, one must first get through the end, which is almost literally unendurable.