Chuck Wilson

Off sorority row, the movie goes flat for increasingly long stretches, with the filmmakers displaying so little understanding of or genuine feeling for the mentally challenged that they never advance past stutter-and-stumble humor.

At its best, this uneven film by writer-director Dave Boyle suggests that going a bit nuts is a good thing for the rigid paterfamilias.

What's missing is any sense of why such a handsome man is afraid of women. That makes the premise hard to swallow, especially since Harrington is too commanding to be a believable dweeb. The actor does achieve moments of pathos, only to be undone by a silly script.

actor-turned-director Kevin Bacon (Sedgwick's husband) can't seem to decide if he's making a film about a loving eccentric or a sociopath.

You can be sure that his victims die shirtless, and are as dumb as the hetero dimwits who fell prey to Jason or Freddy, but what you might not expect is that this queer-slanted slasher flick is actually pretty good.

Madea's a riot, but what makes this richer, more textured follow-up to "Diary of a Mad Black Woman" so fascinating is the way Perry - a first-time director adapting his own hit play - shifts on a dime from a silly fart joke scene to one of intense, Sirkian melodrama.

Heartfelt yet overly schematic debut feature.

Director Chuck Russell ("The Mask") keeps the computer effects to a minimum, emphasizing instead the essential ingredients of a Saturday-afternoon serial, namely, venom-tipped arrows, pissed-off cobras and a buxom babe.

One expects razzle-dazzle dance sequences to lift this movie above its clichés, but they are few and far between, which is not only disappointing, it's downright baffling.

Those who can forgive the director's pretensions will discover some fine filmmaking.

This ensemble drama is passionately acted and nicely shot, but the storytelling of first-time writer-director Dan Kay is infused with an archaic naiveté.

More problematic is "Inside Out," starring Jason Gould, who also wrote and directed, based on his own experiences as the son of Barbra Streisand and Elliott Gould.

This is one of the few treatments of the macabre in animation that is authentically unnerving, rather than merely gross or campy.

The director's work is suitably unnerving, but leaves one feeling beaten senseless by reel two. When the hero's well-earned moment of clarity finally arrives, most will likely be too numbed out to care, despite the best efforts of Brody, an actor too vividly alive to be wasting his time playing dead.

Always amusing, if never screamingly funny.

Cox’s delivery of Churchill’s “We will fight on the beaches” D-Day speech surely ranks among the best, but it’s a problem when a narrative feature’s most powerful scenes are drawn from historical text.

Clichéd though it may be, this movie was clearly made with love.

The film is sporadically amusing, especially early on. But as the gross-outs dwindle, one is left to contemplate if Stiller has always been this neckless and to wonder just why Aniston wastes her summer vacation on junk such as this.

[Webber's] performance is crazy good, and so emotionally charged that viewers may be forgiving of a finale overloaded with silly twists.

There are funny moments -- a cameo from Debbie Reynolds, an Evita sing-along -- but the film grows progressively more dispirited.

Formulaic but refreshingly low-key weepie.

Amiable but not especially funny film.

In this serviceable remake of the fondly remembered 1959 Disney comedy (which starred Fred MacMurray), an impressively dexterous Tim Allen plays Dave Douglas.

Aided by capable if unnecessary 3D effects, Petty displays a flair for staging violent action, but he's trapped inside a broad comic set-up that doesn't mesh with the story's innate meanness.

In many ways, Marshall and Barrymore are an equal match -- while both have a flair for the small touches that build a good comic scene, each lacks the complex layering of motive and emotion that make a human life believably real.

Director James Wong and co-writer Glen Morgan seem, in this film's creaky first third, to be working on automatic pilot, but they gradually cut loose, staging one imaginative and gleefully gruesome death after another.

A remake of the 2003 Korean horror film "A Tale of Two Sisters," The Uninvited is a Hand That Rocks the Cradle–type thriller that's been dressed up as a horror movie.

Actress Amy Smart (Crank) has a knack for bringing a spark to mediocre movies, which she does again in this amiably dull dance drama.