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Works as pretty contagious fun.

In The Pianist, Polanski is saying what he has long wanted to say, confronting the roots of his own preoccupations and obsessions, and he allows nothing to get in the way.

...Liotta is put in an impossible spot because his character's deceptions ultimately undo him and the believability of the entire scenario.

If there was ever a movie where the upbeat ending feels like a copout, this is the one.

'...the cast portrays their cartoon counterparts well...but quite frankly, Scoob and Shag don't eat enough during the film.'

The sheer dumbness of the plot (other than its one good idea) and the movie's inescapable air of sleaziness get you down.

Those who don't entirely 'get' Godard's distinctive discourse will still come away with a sense of his reserved but existential poignancy.

Provides a very moving and revelatory footnote to the Holocaust.

...there is enough originality in 'Life' to distance it from the pack of paint-by-number romantic comedies that so often end up on cinema screens.

Raimi crafted a complicated hero who is a welcome relief from the usual two-dimensional offerings.

If you saw Benigni's Pinocchio at a public park, you'd grab your kids and run and then probably call the police.

It is dark, brooding and slow, and takes its central idea way too seriously.

It cuts to the core of what it actually means to face your fears, to be a girl in a world of boys, to be a boy truly in love with a girl, and to ride the big metaphorical wave that is life -- wherever it takes you.

An enjoyable, if occasionally flawed, experiment.

It is, however, a completely honest, open-hearted film that should appeal to anyone willing to succumb to it.

I don't think this movie loves women at all.

American musical comedy as we know it wouldn't exist without the precedent of Yiddish theater, whose jolly, fun-for-fun's-sake communal spirit goes to the essence of Broadway.

Don't judge this one too soon - it's a dark, gritty story but it takes off in totally unexpected directions and keeps on going.

...(the film) works, due mostly to the tongue-in-cheek attitude of the screenplay.

Features nonsensical and laughable plotting, wooden performances, ineptly directed action sequences and some of the worst dialogue in recent memory.

Too smart to ignore but a little too smugly superior to like, this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot.

The director's many dodges and turns add up to little more than a screenful of gamesmanship that's low on both suspense and payoff.

An invaluable historical document thanks to the filmmaker's extraordinary access to Massoud, whose charm, cultivation and devotion to his people are readily apparent.

...no charm, no laughs, no fun, no reason to watch.

Thanks largely to Williams, all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film.

What might have emerged as hilarious lunacy in the hands of Woody Allen or Mel Brooks (at least during their '70s heyday) comes across as lame and sophomoric in this debut indie feature.

It would take a complete moron to foul up a screen adaptation of Oscar Wilde's classic satire.

Jackass is a vulgar and cheap-looking version of Candid Camera staged for the Marquis de Sade set.

Everyone should be able to appreciate the wonderful cinematography and naturalistic acting.

One well-timed explosion in a movie can be a knockout, but a hundred of them can be numbing.

Where their heads were is anyone's guess.

Scotland looks wonderful, the fans are often funny fanatics, the showdown sure beats a bad day of golf.

The music makes a nice album, the food is enticing and Italy beckons us all.

One of the best silly horror movies of recent memory, with some real shocks in store for unwary viewers.

The film is a very good viewing alternative for young women.

Beautifully shot against the frozen winter landscapes of Grenoble and Geneva, the film unfolds with all the mounting tension of an expert thriller, until the tragedy beneath it all gradually reveals itself.

Griffin & Co. manage to be spectacularly outrageous.

It is hard not to be especially grateful for freedom after a film like this.

A well-put-together piece of urban satire.

Too much of Nemesis has a tired, talky feel.

Pan Nalin's exposition is beautiful and mysterious, and the interviews that follow, with the practitioners of this ancient Indian practice, are as subtle and as enigmatic.

Given the fact that virtually no one is bound to show up at theatres for it, the project should have been made for the tube.

With more character development this might have been an eerie thriller; with better payoffs, it could have been a thinking man's monster movie.

An entertaining British hybrid of comedy, caper thrills and quirky romance.

But ... in trying to capture the novel's deeper intimate resonances, the film has – ironically - distanced us from the characters.

The modern master of the chase sequence returns with a chase to end all chases

Queen of the Damned as you might have guessed, makes sorry use of Aaliyah in her one and only starring role -- she does little here but point at things that explode into flame.

A loud, witless mess that has none of the charm and little of the intrigue from the TV series.

A cartoon?

A crass and insulting homage to great films like Some Like It Hot and the John Wayne classics.

The problem with "XXX" is that its own action isn't very effective.

'Yes, that's right: it's Forrest Gump, Angel Of Death.'

With a romantic comedy plotline straight from the ages, this Cinderella story doesn't have a single surprise up its sleeve.

... while certainly clever in spots, this too-long, spoofy update of Shakespeare's Macbeth doesn't sustain a high enough level of invention.

No new plot conceptions or environmental changes, just different bodies for sharp objects to rip through.

Australian actor/director John Polson and award-winning English cinematographer Giles Nuttgens make a terrific effort at disguising the obvious with energy and innovation.

Twohy knows how to inflate the mundane into the scarifying, and gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record.

At once a testament to the divine calling of education and a demonstration of the painstaking process of imparting knowledge.

Insufferably naive.

These are textbook lives of quiet desperation.

Worth a salute just for trying to be more complex than your average film.

It excels because, unlike so many other Hollywood movies of its ilk, it offers hope.

The fun of the movie is the chance it affords to watch Jackson, who also served as executive producer, take his smooth, shrewd, powerful act abroad.

Far too clever by half, Howard's film is really a series of strung-together moments, with all the spaces in between filled with fantasies, daydreams, memories and one fantastic visual trope after another.

Serious and thoughtful.

Soderbergh skims the fat from the 1972 film.

A remarkably insightful look at the backstage angst of the stand-up comic.

Alternately hilarious and sad, aggravating and soulful, scathing and joyous.

This is the case of a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience.

It's unlikely we'll see a better thriller this year.

It's provocative stuff, but the speculative effort is hampered by Taylor's cartoonish performance and the film's ill-considered notion that Hitler's destiny was shaped by the most random of chances.

A movie that can't get sufficient distance from Leroy's delusions to escape their maudlin influence.

Though Harris is affecting at times, he cannot overcome the sense that Pumpkin is a mere plot pawn for two directors with far less endearing disabilities.

Schneidermeister... Makin' a fool of himself... Losin' his fan base...

In this case zero.

The young stars are too cute; the story and ensuing complications are too manipulative; the message is too blatant; the resolutions are too convenient.

The difference is that I truly enjoyed most of Mostly Martha while I ne

Sexy and romantic.

By the time the plot grinds itself out in increasingly incoherent fashion, you might be wishing for a watch that makes time go faster rather than the other way around.

Arteta directs one of the best ensemble casts of the year

Vividly conveys the passion, creativity, and fearlessness of one of Mexico's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all.

The concept is a hoot.

It may not be particularly innovative, but the film's crisp, unaffected style and air of gentle longing make it unexpectedly rewarding.

In its own way, Joshua is as blasphemous and nonsensical as a Luis Buñuel film without the latter's attendant intelligence, poetry, passion, and genius.

Perhaps a better celebration of these unfairly dismissed heroes would be a film that isn't this painfully forced, false and fabricated.

...you can be forgiven for realizing that you've spent the past 20 minutes looking at your watch and waiting for Frida to just die already.

The director, Mark Pellington, does a terrific job conjuring up a sinister, menacing atmosphere though unfortunately all the story gives us is flashing red lights, a rattling noise, and a bump on the head.

Even if the Naipaul original remains the real masterpiece, the movie possesses its own languorous charm.

Delivers more than its fair share of saucy hilarity.

If it were any more of a turkey, it would gobble in Dolby Digital stereo.

More intimate than spectacular, E.T. is carried less by wow factors than by its funny, moving yarn that holds up well after two decades.

I thought the relationships were wonderful, the comedy was funny, and the love 'real'.

Amid the shock and curiosity factors, the film is just a corny examination of a young actress trying to find her way.

Wickedly funny, visually engrossing, never boring, this movie challenges us to think about the ways we consume pop culture.

The spaniel-eyed Jean Reno infuses Hubert with a mixture of deadpan cool, wry humor and just the measure of tenderness required to give this comic slugfest some heart.

A film with almost as many delights for adults as there are for children and dog lovers.

A depraved, incoherent, instantly disposable piece of hackery.

The animation and game phenomenon that peaked about three years ago is actually dying a slow death, if the poor quality of Pokemon 4 Ever is any indication.

The camera soars above the globe in dazzling panoramic shots that make the most of the large-screen format, before swooping down on a string of exotic locales, scooping the whole world up in a joyous communal festival of rhythm.

What's really sad is to see two Academy Award winning actresses (and one Academy Award winning actor) succumb to appearing in this junk that's TV sitcom material at best.