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Oversexed, at times overwrought comedy/drama that offers little insight into the experience of being forty, female and single.

The world needs more filmmakers with passionate enthusiasms like Martin Scorsese.

The director seems to take an unseemly pleasure in (the characters') misery and at the same time to congratulate himself for having the guts to confront it.

The history is fascinating; the action is dazzling.

The unexpected thing is that its dying, in this shower of black-and-white psychedelia, is quite beautiful.

I also believe that Resident Evil is not it.

Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.

Meeting, even exceeding expectations, it's the best sequel since The Empire Strikes Back ... a majestic achievement, an epic of astonishing grandeur and surprising emotional depth.

While general audiences might not come away with a greater knowledge of the facts of Cuban music, they'll be treated to an impressive and highly entertaining celebration of its sounds.

Not only better than its predecessor, it may rate as the most magical and most fun family fare of this or any recent holiday season.

...may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence.

Death to Smoochy tells a moldy-oldie, not-nearly -as-nasty -as-it- thinks-it-is joke.

Spielberg's picture is smarter and subtler than (Total Recall and Blade Runner), although its plot may prove too convoluted for fun-seeking summer audiences.

Hart's War seems to want to be a character study, but apparently can't quite decide which character.

Smaller numbered kidlets will enjoy.

Offers no new insight on the matter, nor do its characters exactly spring to life.

I'm convinced I could keep a family of five blind, crippled, Amish people alive in this situation better than these British soldiers do at keeping themselves kicking.

The connected stories of Breitbart and Hanussen are actually fascinating, but the filmmaking in Invincible is such that the movie does not do them justice.

The characters are more deeply thought through than in most 'right-thinking' films.

These characters are so well established that the gang feels comfortable with taking insane liberties and doing the goofiest stuff out of left field, and I'm all for that.

With a completely predictable plot, you'll swear that you've seen it all before, even if you've never come within a mile of The Longest Yard.

The jokes are sophomoric, stereotypes are sprinkled everywhere and the acting ranges from bad to bodacious.

Cho's latest comic set isn't as sharp or as fresh as I'm the One That I Want... but it's still damn funny stuff.

Much has been written about those years when the psychedelic '60s grooved over into the gay '70s, but words don't really do the era justice.

One of the best looking and stylish animated movies in quite a while ...

Light the candles, bring out the cake and don't fret about the calories because there's precious little substance in Birthday Girl -- it's simply, and surprisingly, a nice, light treat.

It's good, hard-edged stuff, violent and a bit exploitative but also nicely done, morally alert and street-smart.

Sayles ... once again strands his superb performers in the same old story.

High Crimes carries almost no organic intrigue as a government/ Marine/legal mystery, and that's because the movie serves up all of that stuff, nearly subliminally, as the old-hat province of male intrigue.

Nicole Kidman makes it a party worth attending.

Bogdanovich puts history in perspective and, via Kirsten Dunst's remarkable performance, he showcases Davies as a young woman of great charm, generosity and diplomacy.

The gentle comic treatment of adolescent sturm und drang should please fans of Chris Fuhrman's posthumously published cult novel.

Shatner is probably the funniest person in the film, which gives you an idea just how bad it was.

This is a fragmented film, once a good idea that was followed by the bad idea to turn it into a movie.

There's some outrageously creative action in The Transporter ... (b)ut by the time Frank parachutes down onto a moving truck, it's just another cartoon with an unstoppable superman.

For those of an indulgent, slightly sunbaked and summery mind, Sex and Lucia may well prove diverting enough.

It might be 'easier' to watch on video at home, but that shouldn't stop die-hard French film connoisseurs from going out and enjoying the big-screen experience.

(Reno) delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion.

Rich in atmosphere of the post-war art world, it manages to instruct without reeking of research library dust.

More good than great but Freeman and Judd make it work.

It's nice to see Piscopo again after all these years, and Chaykin and Headly are priceless.

Never Again, while nothing special, is pleasant, diverting and modest -- definitely a step in the right direction.

If The Last Man were the last movie left on earth, there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows.

She is a lioness, protecting her cub, and he a reluctant villain, incapable of controlling his crew.

This is an interesting movie!"

It's simply stupid, irrelevant and deeply, truly, bottomlessly cynical.

The movie is almost completely lacking in suspense, surprise and consistent emotional conviction.

The characters are so generic and the plot so bland that even as rogue CIA assassins working for Chris Cooper's agency boss close in on the resourceful amnesiac, we don't feel much for Damon/Bourne or his predicament.

Like a can of 2-day old Coke.

This masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short.

Yes, I suppose it's lovely that Cal works out his issues with his dad and comes to terms with his picture-perfect life -- but World Traveler gave me no reason to care, so I didn't.

That the film opens with maggots crawling on a dead dog is not an out of place metaphor.

If the plot seems a bit on the skinny side, that's because Panic Room is interested in nothing more than sucking you in...and making you sweat.

Drumline ably captures the complicated relationships in a marching band.

The entire cast is first-rate, especially Sorvino.

It's a drag how Nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding.

Nothing about this movie works.

A solidly entertaining little film.

("Safe Conduct") is a long movie at 163 minutes but it fills the time with drama, romance, tragedy, bravery, political intrigue, partisans and sabotage.

Although mainstream American movies tend to exploit the familiar, every once in a while a film arrives from the margin that gives viewers a chance to learn, to grow, to travel.

A hit- and-miss affair, consistently amusing but not as outrageous or funny as Cho may have intended or as imaginative as one might have hoped.

This is an exercise in chilling style, and Twohy films the sub, inside and out, with an eye on preserving a sense of mystery.

Hey everybody, wanna watch a movie in which a guy dressed as a children's party clown gets violently gang-raped?

It makes compelling, provocative and prescient viewing.

A flawed but engrossing thriller.

Never comes together as a coherent whole.

A decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies.

What sets Ms. Birot's film apart from others in the genre is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the two bewitched adolescents.

Like most of Jaglom's films, some of it is honestly affecting, but more of it seems contrived and secondhand.

It's a wise and powerful tale of race and culture forcefully told, with superb performances throughout.

One of those terrific documentaries that collect a bunch of people who are enthusiastic about something and then figures out how to make us share their enthusiasm.

Not only are the film's Sopranos gags incredibly dated and unfunny, they also demonstrate how desperate the makers of this 'we're -doing-it-for -the-cash' sequel were.

I have to admit that I am baffled by Jason X.

The film gets close to the chimps the same way Goodall did, with a serious minded patience, respect and affection.

A rip-off twice removed, modeled after (Seagal's) earlier copycat Under Siege, sometimes referred to as Die Hard on a boat.

Ms. Seigner and Mr. Serrault bring fresh, unforced naturalism to their characters.

That's muy loco, but no more ridiculous than most of the rest of "Dragonfly."

But the movie that doesn't really deliver for country music fans or for family audiences

If you answered yes, by all means enjoy The New Guy.

Generates an enormous feeling of empathy for its characters.

The low-key direction is pleasingly emphatic in this properly intense, claustrophobic tale of obsessive love.

Those prone to indignation need not apply; those susceptible to blue hilarity, step right up.

An intriguing look at the French film industry during the German occupation; its most delightful moments come when various characters express their quirky inner selves.

would make an excellent companion piece to the similarly themed 'The French Lieutenant's Woman.'

If you like quirky, odd movies and/or the ironic, here's a fun one.

No French people were harmed during the making of this movie, but they were insulted and the audience was put through torture for an hour and a half.

Woody Allen can write and deliver a one liner as well as anybody.

The most consistently funny of the Austin Powers films.

It's both degrading and strangely liberating to see people working so hard at leading lives of sexy intrigue, only to be revealed by the dispassionate Gantz brothers as ordinary, pasty lumpen.

Paid in Full is remarkably engaging despite being noticeably derivative of Goodfellas and at least a half dozen other trouble-in-the-ghetto flicks.

The plot has a number of holes, and at times it's simply baffling.

The redeeming feature of Chan's films has always been the action, but the stunts in The Tuxedo seem tired and, what's worse, routine.

Amazingly lame.

Not even Felinni would know what to make of this Italian freakshow.

García Bernal and Talancón are an immensely appealing couple, and even though their story is predictable, you'll want things to work out.

-- but certainly hard to hate.

finely crafted, finely written, exquisitely performed

Parker cannot sustain the buoyant energy level of the film's city beginnings into its country conclusion

The story is a rather simplistic one: grief drives her, love drives him, and a second chance to find love in the most unlikely place - it struck a chord in me.

A cockeyed shot all the way.