Intriguing, containing a truthful kernel of sweetness, rot and brutality that will shock many.

Nothing near a modern vampire classic. Still, "Queen" is a great dose of vamp camp

An affable, entertaining and poignant experience of the sort not normally afforded by space movies.

Although at times ridiculous, Behind Enemy Lines nevertheless thrills, inspires.

A funny and sometimes substantial movie that in real life would never have a happy ending.

Though The Hard Word feels flimsy at times, its breeziness and humor, along with Pearce's performance, make it infinitely more amusing than it's got any right to be. You get the feeling that these actors had fun making this film, and that fun is contagious.

Although amateurish, often poorly acted and containing dialogue and narration that comes off as pretentious and embarrassing, it's worth watching for the environment it envelops you in.

There are many merits to the picture -- it's wonderfully shot and boasts a beautiful performance by Eul-Boom, who acts in gestures of subtle dignity and compassion. But it's questionable how we're to take actor Seung-Ho.

It's an interesting effort (particularly for JFK conspiracy nuts), and Barry's cold-fish act makes the experience worthwhile.

Marshall does such a good job re-creating the otherworldly energy of a temple of youth that the rest of the picture feels strained and sometimes trite. Nevertheless, parts can be absorbing, reflective and touching.

The performances are uniformly fine, with Perez showing a heavy amount of presence and complexity. It's no wonder the film works best when fixed on his face.

It's still trite and a little too cutesy for its own good. Gay or straight, the cliches remain, but not to a stultifying degree.

The film isn't so much a demanding character study as it is a lot of pretty parts pushed together.

Singleton just may be challenging us to laugh at the film or with it and then feel extremely uneasy for doing so. If so, that's admirable; if not, he's made a very strange soap opera.

Amusing, funny (intentionally and unintentionally -- it's dubbed, so many lines come out ludicrous) and, by the ending, exciting.

So what will happen? Sadly, some overacting and a bad "And Justice For All"-style speech at the end.

Manages to feel both obvious and oblique: You feel the need to watch it twice but wonder if you would actually be up for it. It moves like a breezy techno-thriller but tangles itself with duplicities and metaphors. You get it, and then you don't get it, and then you wonder if you even care.

The film isn't terrible, it's just trying too hard.

While breezy and fun, the film is also flimsy and sloppy in style and content.

Judging by the beautiful photography of Salvatore Totino, Howard knows what a Western should look like. But the thrills suggested by the trailers, in which the picture is presented almost like a frightening supernatural horror story, are nowhere to be seen.

Eventually becomes tedious.

'N Sync is bouncy, harmless fun. And so is this stupid movie.

The dialogue is clipped and theatrical, and, aside from Harvey Keitel's German officer, accents are abandoned, which may distract viewers. For me it worked fine.

Good, but, sadly, not good enough. Well-acted, beautifully shot and splendidly costumed, it's superior to the original in its looks, but not as potent or meaningful in its story line.

Though exploring, among other things, fallibility, homosexuality, injustice and loss, the picture seems afraid to really make any kind of strong statement, whether political or psychological.

The script is atypically bland for Heckerling.

Westfeldt becomes irritating. That's one of the film's points, but it's made a little too well.

Though no classic, the concept is a clever one.