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Poorly scripted by Akiva Goldsman, this murder mystery (helmed by Bruce Beresford) represents an awkward synthesis of autism and family abuse as social problems, failing to deliver suspense or excitement on any level.

Beresford draws the best from a fine cast. Only when he tries to up the thrill quotient near the end are the contrivances of Akiva Goldsman's debut script revealed, like cracks in the smooth surface of a frozen lake.

Watching various hoop stars and legends trying to act is cringeworthy, O'Neal particularly bad, but Friedkin's movie, written by sports film specialist Shelton has a lot of passion.

A deafness-inducing but otherwise ho-hum would-be expose of shady recruiting practices by college basketball programs.

A pedestrian racial comedy.

The lighthearted fable Pleasantville takes some pointed swipes at the make-believe world of 1950s TV -- and none too soon.

There's a terrific idea at the heart of Pleasantville, and it's a shame that its creator, Big screenwriter Gary Ross, can't figure where to take it.

A darkly cynical and uncompromising gem.

Best to savor The Grifters for its handsome design -- the picture looks as clean as a Hockney landscape -- and its juicy performances.

[Kurt Russell's] lack of energy afflicts the film as much as its director's lack of ideas.

A taut suspense film.

A long, teasing trailer for a film not yet made.

In a world where everyone is some kind of insider, the viewer may feel left out in the cold.

From the start, the film bowls you over with excitement and for those who can latch on, it's a nonstop ride.

Offering only hackneyed insights into the war, the film makes for stodgy drama. But Williams' manic monologues behind the mike are worth anybody's money.