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Something to Talk About is at its best when Khouri's juicy script is adroitly mixing comedy and pathos.

In [Khouri's] zeal to portray a world full of male scum, she creates a morally mismatched, pandering scenario.

Though it credits Mr. Altman and Barbara Shulgasser as writers, this film seems practically scriptless, to the point where much of it plays like a first rehearsal.

The picture is not a social satire. It's a mess.

When it comes to spy thrillers, Tony Gilroy knows the game.

It's good to see an espionage thriller that avoids the clichs of the genre.

Soderbergh is so busy trying to create his movie-within-a-movie -- and, in at least one instance, his movie-within- a-movie-within -a-movie -- that he botches the enclosing movie.

The best you can say about Full Frontal, an ensemble piece that flirts with ideas about illusion and reality, is that the movie qualifies as a failed experiment.

A lab-engineered weepie!

A very bland pudding!

The film version is pure wish-fulfillment fantasy.

Eat Pray Love is a two hour and fifteen minute ad for being rich; it's a smug, patronising travelogue that -- despite its already apt title -- could have also been called First World Problems: The Movie.

The ending is happy and ironic in equal measure, but most of the fun is just getting there with the right chemistry and compatibility.

t's an agreeably slick affair, with decent support performances, elegant camerawork, and several impressive set pieces.

The kind of flick that gives fluff a good name.

The premise falters along with much of the shtick.

We don't feel much of anything.

The draggy narrative of this 1997 comedy is tough to sit through -- there are even several overproduced musical numbers -- but it does have an intriguing subversive element that I don't want to give away.

Larry Crowne, Hanks' second effort behind the camera, makes It's a Wonderful Life look like Enter the Void. It's a cute movie that never meant to hurt no one, and that's the best thing I can say about it.

To pluck romantic comedy from the jaws of a social crisis is a laudable project, worthy of Preston Sturges, and it's a pity that this featherlight drama-written by Tom Hanks and Nia Vardalos, and directed by Hanks himself-should falter in its task.

This is old-fashioned, assembly-line moviemaking without the old panache.

Gere and Roberts do good work, but this feelgood fantasy is laced with some preposterous messages about love, success and money.