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"Hannibal" Both repugnant and boring, the grisly, disgusting new Hannibal Lecter thriller is likely the worst film of this year -- and quite possibly the next. Where to dig in first?
By Charles Taylor [February 9, 2001]

"Hamlet" There's something rotten in Denmark, but not in this darkly glittering update of Shakespeare's great tragedy.
By Stephanie Zacharek [May 11, 2000]

"Happiness" Not a warm puppy: Jonathan Lethem reviews 'Happiness,' directed by Todd Solondz and starring Jane Adams, Dylan Baker and Philip Seymour Hoffman.
By Jonathan Lethem [September 30, 1998]

"Happy, Texas" A cons-on-the-run caper gets its charm from witty, endearing performances and uncynical affection for its characters.
By Mary Elizabeth Williams [September 30, 1999]

"Happy Together" Charles Taylor reviews 'Happy Together' directed by Wong Kar-Wai and starring Leslie Cheung Kwok-Wing and Tony Leung Chiu-Wai.
By Charles Taylor [October 31, 1997]

"A Hard Day's Night" The great Beatles movie reminds us how much they gave -- and how much we took.
By Stephanie Zacharek [December 1, 2000]

"The Haunting" Catherine Zeta-Jones playing a lesbian in a fur-trimmed vest? That's not scary -- that's hilarious.
By Stephanie Zacharek [July 21, 1999]

"Head On" Using rough sex and rougher drugs to escape the marriage-mortgage trap.
By Daniel Mangin [August 19, 1999]

"Heartbreakers" A sexpot farce starring Sigourney Weaver and Jennifer Love Hewitt hits just the right note between naughty and raunchy.
By Charles Taylor [April 30, 1998]

"Hedwig and the Angry Inch" John Cameron Mitchell's cross-dressing musical buzzes with the feel of real rock 'n' roll.
By Stephanie Zacharek [July 20, 2001]

"He Got Game" Spike Lee's "He Got Game" is a sentimental but affecting look at how a father regained his long-lost son -- through basketball.
By Gary Kamiya [April 30, 1998]

"Hercules" Disney's Hercules is a show-tune-spouting, buff demigod bent on self-improvement (and world domination).
By Charles Taylor [July 27, 1997]

"High Fidelity" Love, rock 'n' roll, lists and record-store geeks come together swimmingly in the romantic filmed version of the Nick Hornby novel.
By Stephanie Zacharek [March 30, 2000]

"Highlander: Endgame""Don't worry. The drugs will kick in momentarily."
By Andrew O'Hehir [September 1, 2000]

"The Hi-Lo Country" The boredom trilogy: The scenery chews itself in 'The Hi-Lo Country,' director Stephen Frears' laconic throwback to '70s Westerns.
By Charles Taylor [January 4, 1999]

"Hit Me" Noir way out: Jonathan Lethem reviews 'Hit Me,' directed by Steve Shainberg and starring Elias Koteas, Laure Marsac and William H. Macy.
By Jonathan Lethem [October 2, 1998]

"Hollow Man" Paul Verhoeven churns out a feast of breasts and gore. I haven't had a worse time at the movies this summer.
By Charles Taylor [August 4, 2000]

"Holy Smoke" Kate Winslet smolders, but the rest of the cast evaporates in Jane Campion's tale of sex and spirituality.
By Mary Elizabeth Williams [December 2, 1999]

"Home Fries" Hot buns in the oven: Drew Barrymore is sweet as cherry pie as a pregnant burger-joint clerk in the charming screwball comedy 'Home Fries.' Reviewed by Charles Taylor.
By Charles Taylor [November 25, 1998]

"The Horse Whisperer" Stephanie Zacharek reviews 'The Horse Whisperer' directed by Robert Redford and starring Robert Redford, Kristin Scott Thomas and Sam Neill
By Stephanie Zacharek [May 14, 1998]

"House of Mirth" Like a John Singer Sargent portrait come to life, Gillian Anderson blooms in the middle of this careful version of Edith Wharton's classic.
By Stephanie Zacharek [December 22, 2000]

"House on Haunted Hill" Where evil has a modem and looks like black calamari.
By Sarah Beach [November 10, 1999]

"Dr. Seuss' How the Grinch Stole Christmas" You will not like it on the screen, you will not like it -- not one scene!
By Stephanie Zacharek [November 17, 2000]

"Hurlyburly" Director Anthony Drazan successfully brings the sexist, self-destructive camaraderie of 'Hurlyburly' to the screen.
By Jonathan Lethem [December 23, 1998]

"The Hurricane" Denzel Washington's knockout performance wins over an otherwise flat-footed film.
By Andrew O'Hehir [January 6, 2000]


 
 




 
 
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