A kind of idealist fantasy that seems almost hamstrung by its plot.

Ritchie may be skilled at generating controlled chaos, but his surprise-a-minute strategy ultimately holds no surprises; Snatch is even more frenetically boring than his 1999 "Lock, Stock and Two Smoking Barrels."

By the time the manic camera slows down to reveal the back stories of the characters, everyone's motives are either moot or redundant.

This movie's story must have been computer generated along with its animation.

Unlike Michael Jordan, this 45-minute large-format movie demonstrates mostly unrealized potential.

The end justifies the means as long as everything turns out OK for the not-too-obedient American soldier and everyone else who enjoys Coca-Cola.

The movie occasionally makes an unexpectereference -- though with more desperation than wit.

A story that holds little suspense; we know exactly how happily this animated musical will end--and the wait isn't very diverting.

Cathartically disgusting adventure movie.

This Farrelly brothers "hommage" replicates the mechanics of their work without echoing its spirit or complex tone, and many of the deliberate offenses fail to transcend mere exploitation.

The fundamental problems with David Cronenberg's disastrous 1993 adaptation, written by Hwang himself, are twofold: the unsuitability of such a premise for film, where the actors and audience no longer share the same space, and the miscasting of Jeremy Irons as the accountant and John Lone as the diva.

Jamal (Martin Lawrence), starts trying to make the best of a bad situation, which becomes our job too.

Stylish but insubstantial thriller .

Nearly toothless 1998 existential drama.

Its ponderous explanations about why there are vampires in Arizona in the new millennium (blah, blah, blah).

Grossly unimaginative.

The labored storytelling in this movie about displaced ambition diminishes the impact of the powerful performances.

Writer-director Peter Greenaway never uses narrative lightly...references to the act of filmmaking exhaust their impact pretty quickly.

Until the diverting special effects take center stage, this story, about an alien intelligence that builds an army out of flesh and metal, pathetically exploits genre conventions without generating self-reference, camp, or thrills.

The most subtly revolting aspect of the movie is how it manages to exploit violence for cheap thrills, in part by equating submission with love.

The filmmakers uphold an unfortunate tradition in movies based on TV shows by busily adding superfluous plot elements.

The characters seem both reduced and idealized, and the plot has turns a dispassionate dramatist would avoid.

Awful light drama.

This mildly moody SF thriller belabors standard dramatic conceits involving jealousy and sexual betrayal.

Excruciatingly earnest yet convictionless movie.

This grasping comedy targets kids of all ages but will please no one as it exploits exhausted ideas about adolescence.

The inevitable isn't worth the wait.

This asthma-inducing adventure set on K2 starts out seeming as if its corny storytelling and phony-looking settings were designed to show that it's as much about genre-movie conventions as anything else.