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You can taste it, but there's no fizz.

A reworking of Die Hard and Cliffhanger but it's nowhere near as exciting as either.

A moving tale of love and destruction in unexpected places, unexamined lives.

It has more than a few moments that are insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing.

Why?

And that is where Ararat went astray.

Vincent Gallo is right at home in this French shocker playing his usual bad boy weirdo role.

Clockstoppers is one of those crazy, mixed-up films that doesn't know what it wants to be when it grows up.

Sandra Bullock, despite downplaying her good looks, carries a little too much ain't- she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff.

It's mostly a pleasure to watch.

Its spirit of iconoclastic abandon -- however canned -- makes for unexpectedly giddy viewing.

A kilted Jackson is an unsettling sight, and indicative of his, if you will, out-of-kilter character, who rambles aimlessly through ill-conceived action pieces.

I didn't find much fascination in the swinging.

This is no "Waterboy!"

But the nerve-raked acting, the crackle of lines, the impressive stagings of hardware, make for some robust and scary entertainment.

Baby-faced Renner is eerily convincing as this bland blank of a man with unimaginable demons within.

The kind of primal storytelling that George Lucas can only dream of.

Uplifting as only a document of the worst possibilities of mankind can be, and among the best films of the year.

The Irwins' scenes are fascinating; the movie as a whole is cheap junk and an insult to their death-defying efforts.

It's a frightful vanity film that, no doubt, pays off what debt Miramax felt they owed to Benigni.

He seems to want both, but succeeds in making neither.

By turns fanciful, grisly and engagingly quixotic.

The re-release of Ron Howard's Apollo 13 in the IMAX format proves absolutely that really, really, really good things can come in enormous packages.

I've never seen (a remake) do anything as stomach-turning as the way Adam Sandler's new movie rapes, pillages and incinerates Frank Capra's classic...

Those who want to be jolted out of their gourd should drop everything and run to Ichi.

Mr. Deeds is, as comedy goes, very silly -- and in the best way.

This amiable picture talks tough, but it's all bluster -- in the end it's as sweet as Greenfingers ...

MY LITTLE EYE is the best little "horror" movie I've seen in years.

The movie is a negligible work of manipulation, an exploitation piece doing its usual worst to guilt-trip parents.

It may ... work as a jaunt down memory lane for teens and young adults who grew up on televised Scooby-Doo shows or reruns.

Suffers from a flat script and a low budget.

The movie is well done, but slow.

The Master of Disguise is awful.

The film is one of the year's best.

One of the year's most weirdly engaging and unpredictable character pieces.

The direction occasionally rises to the level of marginal competence, but for most of the film it is hard to tell who is chasing who or why.

The three leads produce adequate performances, but what's missing from this material is any depth of feeling.

"Looking For Leonard" just seems to kinda sit in neutral, hoping for a stiff wind to blow it uphill or something.

The most surprising thing about this film is that they are actually releasing it into theaters.

...one resurrection too many.

Oh, look at that clever angle!

No, I hate it.

For a long time the film succeeds with its dark, delicate treatment of these characters and its unerring respect for them.

The casting of Raymond J. Barry as the 'assassin' greatly enhances the quality of Neil Burger's impressive fake documentary.

The film is like sitting in a downtown café, overhearing a bunch of typical late-twenty-somethings natter on about nothing, and desperately wishing you could change tables.

The filmmakers want nothing else than to show us a good time, and in their cheap, B movie way, they succeed.

A rollicking ride, with jaw-dropping action sequences, striking villains, a gorgeous color palette, astounding technology, stirring music and a boffo last hour that leads up to a strangely sinister happy ending.

An hour and a half of joyful solo performance.

Contrived pastiche of caper clichés.

A triumph, a film that hews out a world and carries us effortlessly from darkness to light.

Steven Soderbergh's digital video experiment is a clever and cutting, quick and dirty look at modern living and movie life.

Kinnear's performance is a career-defining revelation.

Not only a reminder of how they used to make movies, but also how they sometimes still can be made.

The dragons are the real stars of Reign of Fire and you won't be disappointed.

If you're over 25, have an IQ over 90, and have a driver's license, you should be able to find better entertainment.

For devotees of French cinema, Safe Conduct is so rich with period minutiae it's like dying and going to celluloid heaven.

Scherfig, who has had a successful career in TV, tackles more than she can handle.

This Sade is hardly a perverse, dangerous libertine and agitator -- which would have made for better drama.

By the end of the movie, you're definitely convinced that these women are spectacular.

...a plotline that's as lumpy as two-day old porridge...the filmmakers' paws, sad to say, were all over this "un-bear-able" project!

The modern-day royals have nothing on these guys when it comes to scandals.

essentially "Fatal Attraction" remade for viewers who were in diapers when the original was released in 1987.

It doesn't really know or care about the characters, and uses them as markers for a series of preordained events.

'Opening up' the play more has partly closed it down.

Even though it's common knowledge that Park and his founding partner, Yong Kang, lost Kozmo in the end, you can't help but get caught up in the thrill of the company's astonishing growth.

Lots of effort and intelligence are on display but in execution it is all awkward, static, and lifeless rumblings.

Every moment crackles with tension, and by the end of the flick, you're on the edge of your seat.

The IMAX screen enhances the personal touch of manual animation.

Coal isn't as easy to come by as it used to be and this would be a worthy substitute for naughty children's stockings.

As pedestrian as they come.

Why, you may ask, why should you buy the movie milk when the TV cow is free?

Sunk by way too much indulgence of scene-chewing, teeth-gnashing actorliness.

That's fun for kids of any age.

Raimi and his team couldn't have done any better in bringing the story of Spider-Man to the big screen.

A colorful, joyous celebration of life; a tapestry woven of romance, dancing, singing, and unforgettable characters.

A rip-roaring comedy action fest that'll put hairs on your chest.

The premise of Jason X is silly but strangely believable.

The modern-day characters are nowhere near as vivid as the 19th-century ones.

Chelsea Walls is a case of too many chefs fussing over too weak a recipe.

The cast ... keeps this pretty watchable, and casting Mick Jagger as director of the escort service was inspired.

(The kid's) just too bratty for sympathy, and as the film grows to its finale, his little changes ring hollow.

Contradicts everything we've come to expect from movies nowadays.

There is little question that this is a serious work by an important director who has something new to say about how, in the flip-flop of courtship, we often reel in when we should be playing out.

The script has less spice than a rat burger and The Rock's fighting skills are more in line with Steven Seagal.

The solid filmmaking and convincing characters makes this a high water mark for this genre.

The kind of movie that comes along only occasionally, one so unconventional, gutsy and perfectly executed it takes your breath away.

With an admirably dark first script by Brent Hanley, Paxton, making his directorial feature debut, does strong, measured work.

Funny, somber, absurd, and, finally, achingly sad, Bartleby is a fine, understated piece of filmmaking.

Every now and again, a movie comes along to remind us of how very bad a motion picture can truly be.

Unfortunately, there is almost nothing in this flat effort that will amuse or entertain them, either.

Schrader examines Crane's decline with unblinking candor.

That the e-graveyard holds as many good ideas as bad is the cold comfort that Chin's film serves up with style and empathy.

You wouldn't want to live waydowntown, but it is a hilarious place to visit.

The Bai brothers have taken an small slice of history and opened it up for all of us to understand, and they've told a nice little story in the process.

There's not one decent performance from the cast and not one clever line of dialogue.

Translation: 'We don't need to try very hard.'

Return to Never Land is reliable, standard Disney animated fare, with enough creative energy and wit to entertain all ages.

It sticks rigidly to the paradigm, rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived, well-worn situations.

Caine makes us watch as his character awakens to the notion that to be human is eventually to have to choose.

A captivating and intimate study about dying and loving...