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A much more successful translation than its most famous previous film adaptation, writer-director Anthony Friedman's similarly updated 1970 British production.

Hugh Grant's act is so consuming that sometimes it's difficult to tell who the other actors in the movie are.

Mendes still doesn't quite know how to fill a frame.

But darned if it doesn't also keep us riveted to our seats.

Such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema.

There's too much forced drama in this wildly uneven movie, about a young man's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present.

To call this film a lump of coal would only be to flatter it.

All of the filmmakers' calculations can't rescue Brown Sugar from the curse of blandness.

Intriguing and stylish.

A few nonbelievers may rethink their attitudes when they see the joy the characters take in this creed, but skeptics aren't likely to enter the theater.

Mostly, Shafer and co-writer Gregory Hinton lack a strong-minded viewpoint, or a sense of humor.

It should be interesting, it should be poignant, it turns out to be affected and boring.

When it's not wallowing in hormonal melodrama, "Real Women Have Curves" is a sweet, honest, and enjoyable comedy-drama about a young woman who wants many things in life, but fears she'll become her mother before she gets to fulfill her dreams.

Cold, nervy and memorable.

First-timer John McKay is never able to pull it back on course.

You can practically hear George Orwell turning over.

Helmer Hudlin tries to make a hip comedy, but his dependence on slapstick defeats the possibility of creating a more darkly edged tome.

Passion, melodrama, sorrow, laugther, and tears cascade over the screen effortlessly...

Eric Schweig and Graham Greene both exude an air of dignity that's perfect for the proud warrior that still lingers in the souls of these characters.

What Jackson has done is proven that no amount of imagination, no creature, no fantasy story and no incredibly outlandish scenery

There isn't one moment in the film that surprises or delights.

Spiderman ROCKS

The plot is plastered with one Hollywood cliche after another, most of which involve precocious kids getting the better of obnoxious adults.

Astonishing isn't the word -- neither is incompetent, incoherent or just plain crap.

You might want to take a reality check before you pay the full ticket price to see "Simone," and consider a DVD rental instead.

Unfortunately, a cast of competent performers from movies, television and the theater are cast adrift in various New York City locations with no unifying rhythm or visual style.

Kids five and up will be delighted with the fast, funny, and even touching story.

Still, the updated Dickensian sensibility of writer Craig Bartlett's story is appealing.

waydowntown manages to nail the spirit-crushing ennui of denuded urban living without giving in to it.

He watches them as they float within the seas of their personalities.

hard as this may be to believe, Here on Earth, a surprisingly similar teen drama, was a better film.

It's a funny little movie with clever dialogue and likeable characters.

This charming, thought-provoking New York fest of life and love has its rewards.

A full-frontal attack on audience patience.

... less a story than an inexplicable nightmare, right down to the population's shrugging acceptance to each new horror.

This long and relentlessly saccharine film is a clear case of preaching to the converted.

The film is old-fashioned, occasionally charming and as subtle as boldface.

An entertaining mix of period drama and flat-out farce that should please history fans.

A very well-meaning movie, and it will stand in future years as an eloquent memorial to the World Trade Center tragedy.

It's pretty linear and only makeup-deep, but Bogdanovich ties it together with efficiency and an affection for the period.

Adaptation is simply brilliant.

A thought-provoking picture.

But arriving at a particularly dark moment in history, it offers flickering reminders of the ties that bind us.

Director Charles Stone III applies more detail to the film's music than to the story line; what's best about Drumline is its energy.

Presents nothing special and, until the final act, nothing overtly disagreeable.

Turturro is fabulously funny and over the top as a 'very sneaky' butler who excels in the art of impossible disappearing/reappearing acts

Director Yu seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we haven't seen 10,000 times.

Average, at best, I'm afraid.

This is a superior horror flick.

The cast delivers without sham the raw-nerved story.

All in all, it's a pretty good execution of a story that's a lot richer than the ones Hollywood action screenwriters usually come up with on their own.

It's got all the familiar Bruckheimer elements, and Schumacher does probably as good a job as anyone at bringing off the Hopkins/Rock collision of acting styles and onscreen personas.

I felt trapped and with no obvious escape for the entire 100 minutes.

Although I didn't hate this one, it's not very good either.

Cattaneo reworks the formula that made The Full Monty a smashing success ... but neglects to add the magic that made it all work.

A moving and not infrequently breathtaking film.

While the plot follows a predictable connect-the-dots course... director John Schultz colors the picture in some evocative shades.

Anemic, pretentious.

With few respites, Marshall keeps the energy humming, and his edits, unlike those in Moulin Rouge, are crisp and purposeful without overdoing it.

Light-years ahead of paint-by-number American blockbusters like Pearl Harbor, at least artistically.

One of those unassuming films that sneaks up on you and stays with you long after you have left the theatre.

All of it works smoothly under the direction of Spielberg, who does a convincing impersonation here of a director enjoying himself immensely.

A work that lacks both a purpose and a strong pulse.

A moving, if uneven, success.

It's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads.

(A) real pleasure in its laid-back way.

Feels like pieces a bunch of other, better movies slapped together.

Has all the hallmarks of a movie designed strictly for children's home video, a market so insatiable it absorbs all manner of lame entertainment, as long as 3-year-olds find it diverting.

...too contrived to be as naturally charming as it needs to be.

...in no way original, or even all that memorable, but as downtown Saturday matinee brain candy, it doesn't disappoint.

The 50-something lovebirds are too immature and unappealing to care about.

After a while, the only way for a reasonably intelligent person to get through The Country Bears is to ponder how a whole segment of pop-music history has been allowed to get wet, fuzzy and sticky.

A lot of fun, with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers.

A breathtaking adventure for all ages, Spirit tells its poignant and uplifting story in a stunning fusion of music and images.

This is a nicely handled affair, a film about human darkness but etched with a light (yet unsentimental) touch.

A bland animated sequel that hardly seems worth the effort.

Unspeakable, of course, barely begins to describe the plot and its complications.

A limp Eddie Murphy vehicle that even he seems embarrassed to be part of.

The film sparkles with the the wisdom and humor of its subjects.

Though a capable thriller, somewhere along the way K-19 jettisoned some crucial drama.

It's ... worth the extra effort to see an artist, still committed to growth in his ninth decade, change while remaining true to his principles with a film whose very subject is, quite pointedly, about the peril of such efforts.

In Auteil's less dramatic but equally incisive performance, he's a charismatic charmer likely to seduce and conquer.

How many more times will indie filmmakers subject us to boring, self-important stories of how horrible we are to ourselves and each other?

This is a movie that refreshes the mind and spirit along with the body, so original is its content, look, and style.

A much better documentary -- more revealing, more emotional and more surprising -- than its pedestrian English title would have you believe.

'If you are in the mood for an intelligent weepy, it can easily worm its way into your heart.'

Who knows, but it works under the direction of Kevin Reynolds.

It's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on Oprah.

Lacking substance and soul, Crossroads comes up shorter than Britney's cutoffs.

Simple, poignant and leavened with humor, it's a film that affirms the nourishing aspects of love and companionship.

At times, the movie looks genuinely pretty.

A deliberative account of a lifestyle characterized by its surface-obsession – one that typifies the delirium of post, pre, and extant stardom.

This is surely one of the most frantic, virulent and foul-natured Christmas season pics ever delivered by a Hollywood studio.

I simply can't recommend it enough.

It's a glorified sitcom, and a long, unfunny one at that.

Returning director Rob Minkoff ... and screenwriter Bruce Joel Rubin ... have done a fine job of updating White's dry wit to a new age.

With Zoe Clarke-Williams's lackluster thriller "New Best Friend", who needs enemies?

Just send it to Cranky.

It's secondary to American Psycho but still has claws enough to get inside you and stay there for a couple of hours.

One of the funnier movies in town.