Bob Graham

It is so propulsive so much of the time, it almost looks as if it's going to go the distance. If Washington & Co. don't quite manage to bring it home, the getting there sure is something.

There are times when watching this film is like a near-death experience.

Keeps sinking into its own grimness.

Doesn't look like a movie somebody made. It looks like a movie somebody hallucinated and put up on the screen.

A coming-of-age story that gets it all wrong.

Goes Hitchcock one better by imagining what it would be like if the master had the advantage of digital technology.

What makes it interesting is the story that the viewer must put together, of a model who lives her entire life -- or at least what we see of it -- in front of the camera.

Something so sappy, no one would believe me if I told them. It has to be seen to be disbelieved.

The specifics of their predicament are well handled -- being thrown in a Third World prison may be every tourist's nightmare -- even if the movie eventually goes soft and squishy.

Jim Jarmusch has come up with something strange and amazing.

Li is a phenomenon.

Astonishing visualizations of the afterlife are coupled with a drawn-out allegory about communication between the living and the dead that becomes something of a trial to sit through.

Rich supplies some eloquent grace notes, and Van Sant uses them to make understated music.

Not half-bad. It's about three- quarters bad, actually, but what's left offers some goof-off fun.

Adam Sandler finally has a good excuse: The devil made him do it.

He (Aronofsky) has put together a phantasmagoria of self-destructive obsession that is so visually astounding it becomes its own saving grace. Otherwise, we might not be able to bear it.

This land of sweetness and light may appeal to many, but to some it is going to seem like living hell.

A hodgepodge of half-baked visual styles can't disguise the fact that this dismal thriller is all situation and no story.

The stuff of high romance, brought off with considerable wit, too. People are going to love it.

This warm, celebratory and very public film is punctuated by sudden and luminous private visualizations.

This movie can be recommended only to dyed-in-the-wool fans of the genre. Anyone who goes into one of Miike's films must be prepared to be put through the wringer.

I Stand Alone ("Seul contre tous" in French) is a portrait of a pathetic soul, but it is also a cautionary tale. The butcher cannot be dismissed as a monster, nor is this a creep show. Something like the butcher's story can be found almost every day in newspaper crime reports.

A venemous Valentine to Hollywood sugarcoated with laughs.

Fascinating -- up to a point.

The picture, directed by Rick Famuyiwa, becomes a juggling act, contrasting the efforts of the three grown-up buddies to get to a wedding on time, with flashbacks of their youth.

Action in an action comedy is supposed to be funny, too, as Jackie Chan well knows. The refitting of the crashed plane is so tedious we feel as if we're doing the work ourselves.

Claude Rains' performance in the title role of The Invisible Man may be outtasight, but you can still see the hand of director James Whale.

Turns into one long wallow.