A "B"-movie-style Western meets Eastern, a supernatural "chopsocky" fantasy with leading man Kurt Russell doing a feature-length impression of a dead movie star. Put that in your pipe and smoke it. 
The minor miracle of My Cousin Vinny is that—though the picture never scores any guffaws, the villains remain off-screen, and the conclusion is never in doubt—the movie's full two-hour running time passes so breezily. 
If it's possible for a movie to be agressively bland, Race to Witch Mountain is that movie. 
There's an innocence to The Waterboy that makes the picture part slapstick and part fairy tale...The only problem with letting kids see this Adam Sandler movie? They might want to see another one. 
Thornton brings three key ingredients to the table: distinctive, rich, authentic Southern locations, patient and painterly atmosphere, and a precise and fresh character to study. 
[This] bromantic drama...becomes as frustratedly impotent as Lopez feels, and as chokingly symbolic as Ayers looks with an Uncle Sam top hat on his head and an American flag in his shopping cart. 
A smart pseudo-anthology vehicle for Dushku to spread her wings (not unlike the way Quantum Leap showcased Scott Bakula's versatility) with a touch of The Prisoner in the dark overtones of the show's ongoing mythology. 
If the film meanders at times, reaching for significance in the wrong places, football fans will nevertheless find it charming. 
The story of an embarrasingly inept heavy-metal band called Spinal Tap, Rob Reiner's film set the mockumentary standard that has come to define much of modern screen comedy. 
Gilliam's polarizing style is at its near-best...a dazzling feat of storytelling that bristles with provocative ideas. 
Polanski dares the viewer to plunge into that eye and through the psychic rabbit hole that is its owner's increasingly unhinged personality. 
A Titanic tale of hubris...knot-in-the-stomach scary from the moment the fire gets out of control to the last-ditch heroics that come hours later. 
A literally colorful action-adventure plot...[but] fails to replicate the success of February's Wonder Woman at making its leading character not just kick-ass but fascinating. 
Furious entertainment for a moment of 'populist rage.' But it’s hard to escape the feeling that Fast & Furious is more than a little…mechanical. 
Davies and co-writers John Fay and James Moran load it up with enough surprises to keep jaws dropped and minds racing. 
By no means sophisticated science fiction, but it is a helluva lot of fun...Davies specializes in this sort of high-spirited nonsense, which he characterizes as a last chance for the Tenth Doctor to have a fun-loving romp. 
Needless to say, logic takes a holiday, just not in the Bahamas. 
Strong stuff indeed...swells proportional sight and sound subjectively to convey Hayes' nightmarish experience but also hypes up a story that probably doesn't need the help. 
A stop-motion-animation classic-to-be...both in concept and execution, Coraline is wildly creative stuff. 
Primally, 300 has a grunting, gut impact...Primarily, it's constructed of fudged history and creative slaughtering, making it a somewhat disturbing American busman's holiday. 
Any film that depicts a 'superheroic' rapist-brute as a self-styled parody of America's 'true face' can hardly be accused of thematic squeamishness, and any film that sends readers back to the comic for Moore (and Gibbons) has served the public interest. 
Irresistible...the prime hams and real-life friends share comic timing that can only come from years of experience. 
Punches up its storytelling with biologically invasive visual effects and a soapy interest in its characters' sexy private lives. 
Inkheart gets a pass for making books seem cool (if scary): if only it could have done the same for movies. 
Maybury tackles the great Dylan Thomas in The Edge of Love, a speculative investigation into a cloudy period of the poet and dramatist's personal life. 
If you're looking for the right kind of distraction for that precocious, scientifically curious youngster in your family, look no further. 
Awfully forgettable, but Harlin makes things go boom again, with ruthless efficiency that puts the flick just over the hump of the straight-to-cable Jeff Speakman school. 
The best that can be said for Goyer's latest is that it's competent. How competent is a matter of debate, as is the degree to which Goyer is self-aware about the film's camp value. 
It's a--look, it has to be said--corny "B" horror flick with a certain je ne sais WTF about it. 
For All Mankind is about what makes these men all the same...and, to some extent what makes us all the same: our infinitesimal smallness in the humbling vastness of the universe. 
Hollywood likes nothing more than having its cake and eating it too, which explains the confusions of P.J. Hogan’s Confessions of a Shopaholic. 
I sure hope Sandler's next movie is about learning the pain of Asian folks...that'd be hilarious! 
Remains a potent statement about the horrors of war and a valid testament to the girl who could answer them by writing, 'I still believe, in spite of everything, that people are really good at heart.' 
The lazy script fails at every turn fully to exploit the premise...while making the dogged Carrey fetch his shtick. 
Creator Matt Nix manages convincing action sequences and a sense of danger while keeping the show essentially optimistic and light-footed. 
A towering achievement in American cinema, Spike Lee's Do the Right Thing takes a hard look at a community in crisis. 
Not since Psycho has a movie taken such advantage of the phallic nature of slasher horror. 
Basically only for completists looking to see Jason take center stage for the first time. 
Doesn't hold up to a lick of scrutiny, which is a shame, since it provides such juicy material for a pair of contrasting actors... 
Gorgeous and elliptical...also became for some an instant subject of derision as a prototype for the impenetrable European art film. 