Frank Scheck

Although ragged in its presentation and frustratingly unfocused in its storytelling, Babe’s and Ricky’s Inn is an endearing cinematic valentine that pays well-deserved tribute to a vanished musical institution.

Director Isaac Florentine, a veteran of this sort of direct-to-video violent fare, not surprisingly proves more effective with the action than dramatic scenes, but he keeps the pace moving nicely.

Here’s a quick tip: If you’re old enough to be reading this review, you’re too old to enjoy the childish pleasures of PAW Patrol: The Movie.

Should reasonably please fans of the genre before assuming its place in the horror section of your local video store.

Perhaps best suited for younger audiences, who will be more receptive to a vital history lesson only if it's given a music video-style treatment.

Well meaning but less than riveting in its execution, this documentary is far better suited for public television exposure than theatrical release.

Kingsley delivers such a riveting performance that it becomes easy to overlook the film's less compelling aspects.

While Now You See Me: Now You Don’t proves undeniably entertaining, it’s more than a little exhausting as well.

The cinematic clumsiness is a shame, because Equal Means Equal makes many powerful points along its diffuse, rambling way. Here is a case in which less would definitely have been more.

From its actual and figurative scenes of cockfighting to its copious use of throbbing Brazilian music, there's little here that rises above the level of formula. But director Machado displays a sure touch in his ability to convey the sultry atmosphere of his exotic setting, and he has elicited admirably naturalistic performances from his highly attractive, youthful performers.

Director Regimbal does an effective job of slowly ratcheting up the tension and handling the sometimes brutal violence in a relatively restrained manner. Josh Close’s screenplay is equally nuanced, concentrating as much on the characters’ psychological complexities as the gothic thriller storyline.

The Tale of King Crab strains mightily for a poetic quality that it never quite achieves.

Despite its obvious lack of objectivity, Clarence Thomas: In His Own Words proves an undeniably important historical document, if only for the rare opportunity it provides to hear from its subject directly. Unfortunately, the unintentional portrait it paints is hardly a flattering one, although obviously many will disagree.

Say what you will about the confused narrative, blatant borrowings and wildly over-the-top gory violence of Universal Soldier: Day of Reckoning -- at least you can see what the hell is going on.

While hardly sophisticated in its approach and certainly not polished in its technical elements, the film does get its heartfelt message across with undeniable sincerity.

Displaying his usual mixture of broad, sitcom-style humor and soapy melodramatics, it's an entertaining if hokey effort that his target audience will eat up.

Although not wholly successful in its sociological aspirations, the film does provide both considerable laughs and food for thought.

Tai chi devotees will find much to appreciate here, especially the extensive footage of Cheng demonstrating his skills. But the hagiographic approach doesn't delve very deeply, and the repetition of extravagant tributes by talking heads eventually proves monotonous.

Suffice it to say that if you enjoyed Extraction, you’ll have a fine time with this one, which, in typical franchise fashion, busts its butt attempting to outdo its predecessor. And it does.

The sometimes forced if well-intentioned social proselytizing is alleviated by the well-drawn relationships among the central characters.

The film becomes markedly more entertaining with every appearance by Walter Hagen (Jeremy Northam), Jones' archrival, a raconteur and bon vivant who, though fiercely competitive, enjoyed playing while drunk and clad in a tuxedo.

It's so distinctive, in fact, that that it's hard to tell exactly whether it's sublime or terrible, but either way, it's one of a kind.

Manages to be reasonably diverting even as it proves inevitably minor in its impact.

Suffers from the same occasionally heavy-handed style as its predecessors, it offers a credible indictment against the large corporations currently enjoying windfall profits thanks to the Iraq war.

The filmmakers' fidelity to their source material is admirable, but more historical context could have made this Trip as illuminating as it is magical.

Fatale proves very watchable, in an incredulous B-movie kind of way, and Taylor is a slick enough filmmaker to keep things moving swiftly and entertainingly. The film certainly looks terrific, thanks to Dante Spinotti's glossy cinematography and the high-end production design and costuming.

Class Rank combines satire with teen romance in sweetly innocuous, but not particularly memorable, fashion.

Before the film succumbs to those overindulgences, it's a reasonably taut, effective thriller that benefits greatly from Dormer's strong performance as the beleaguered heroine.

Wolf Warrior 2 is even bigger and bolder than its predecessor, which doesn’t always work in its favor. But genre fans will definitely relish the near-constant barrage of elaborate set pieces that are choreographed and filmed for maximum impact.

A fly-on-the-wall portrait that provides a vivid reminder that children around the world don't have it nearly as lucky as those in America, with the daunting, UNICEF-provided statistics delivered at the end hopefully inciting a spur to action.

It does offer a consistent level of tension, a few decent scares and a terrific lead turn by Christie Burke.

Labine and Punch invest their performances with enough anarchic comic inventiveness and genuine chemistry to make their characters’ courtship and relationship issues funnily entertaining.

Although it sketchily touches on many provocative issues -- the inhumanity of this form of incarceration, the relationship between the artist and subject -- Herman’s House fails to explore them in a fully satisfying manner.

Offers a litany of images and sound bites that are all too disturbing. Although Ever Again lacks the dramatic focus that would make it truly distinctive, it offers a timely wake-up call that should be well heeded.

The many, many action sequences are spectacularly conceived and executed, including a car chase on the Williamsburg Bridge that’s probably still tying up downtown traffic.

A giddy romp that never takes itself seriously in the slightest, and that makes Taipei look like the center of the gay universe.

A cut above the usual level of slasher films, with its overly convoluted plot enhanced by an impressive level of cinematic style. It also places a greater emphasis on surprising plot twists than gore.

Tautly orchestrated within its single setting and photographed and edited for maximum shock value, The Damned never really rises above its standard conventions. But its fast pacing and sheer air of conviction make it a better than average example of its overworked genre.

It’s all a bit much, really, and the constant tonal shifts from a sort of demonic Fantasia to bouncy musical numbers proves more than a bit jarring. It doesn’t help that none of the songs are particularly memorable.

While Hope Springs Eternal lacks the depth and pathos of such similarly themed films as Me and Earl and the Dying Girl, it delivers its relevant message with a refreshing breeziness.

While that personal connection lends an undeniably poignant aspect, the film never quite fully captures the essence of the enigmatic legal and political fixer.

It is Gubler’s appealing performance that anchors the proceedings.

Heist nonetheless has a B-movie appeal thanks to its strong ensemble and wacky commitment to its overcomplicated, wildly absurd plotting.

While the film occasionally stretches credibility and is also rather schematic in its characterizations, it tells its tale with skill and economy, and its observations about consumerist Israeli society are critically insightful without being overdone.

The creatives’ obvious affinity for the genre comes through in every frame of the film, and to their credit Heart Eyes includes many clever touches.

Should attract some interest in urban theatrical situations before settling into cult video status.

Fails to overcome its recycled elements but displays a winning spirit that's hard to dislike.

Gives these canines the sensual elegance of the Calvin Klein models Weber has so famously photographed. Would that the substance of the film have come close to having the impact of its visuals.

How the film wound up in theaters rather than on the Syfy channel is anybody's guess, although the R-rated gore and sex is clearly a major factor. Nonetheless, it has a certain goofy, Troma Films-style charm, and the brief 77-minute running time makes it appropriate for the bottom half of a drive-in double feature

Bringing a much needed personal perspective to a war that has claimed thousands of American lives, the film nonetheless suffers from a hagiographic quality that, from everything we hear expressed about its self-effacing subject, would have disturbed even him.

Embers strains for a philosophical profundity that eludes it. And despite its brief running time, so little actually happens in the plot that it feels much longer than it is. But the film has many resonant moments.

Best of all is Holm, who is consistently hilarious as the sarcastic shrink from hell.

Scott Caan, who delivers a derivative but extremely well acted drama.

Bautista has the low-key charisma, natural appeal and formidable physicality necessary for an action star, and he makes Final Score worth watching (at home while eating pizza and drinking beer, preferably) despite its endlessly derivative elements.

The proceedings are largely engrossing and the performances are mostly excellent, with especially strong turns by the female leads.

Best appreciated for the winning performances of its trio of stars, who convey their characters' desperation with humor and poignancy.

Director/co-screenwriter Uberto Pasolini (Still Life, Nowhere Special) strips the tale to its bare essentials, resulting in a stark, solemnly paced experience that viewers will find either enervating or thrilling.

Eventually the conventions of romantic comedy take hold, with the humor declining precipitously.

Delivering some genuinely creepy slow-burn moments before devolving into baroque excess, Emelie delivers a nasty twist on an all-too-common scenario.

But it's Scott who fully carries the film, helping us overlook the story's contrivances with his moving and intense performance as a character who is as far removed from Professor Moriarty as you can get.

This B-movie, reminiscent of '70s era grindhouse fare, is a reasonably proficient and professional debut that fulfills its modest aspirations.

Those not enthralled by Margiela's wittily iconoclastic but gimmicky avant-garde designs (and I must confess to being one of them) will probably find this documentary less than compelling. Like so many fashion-themed docs, Martin Margiela: In His Own Words will play best to afficionados who will be grateful for this insightful look at its reclusive subject.

Although Criminal retains its source material's cleverness and intricate plotting, something seems to have been lost in the translation.

First-time director Oeding, a veteran stuntman, clearly knows how to effectively shoot an action sequence.

Despite its many engaging moments, Itzhak will likely prove frustrating for viewers desiring more information.

It’s all absurd in a way that is typical Besson. But it’s also undeniably entertaining, and it marks a relatively pain-free way to kill, if not three days, at least a couple of hours.

The film doesn’t fully succeed in elucidating its complex issues. But the wide-spread problem it explores is clearly undeniable, and at the very least this rough-hewn but provocative documentary will hopefully inspire further discussion.

The film has enough entertaining action and sly humor to please its target audience.

The creepy evocativeness of its superbly utilized setting...and the well-realized creature designs make it a more than respectable horror effort. The haunting final shot alone makes it worth the price of admission.

Ultimately fails to illuminate its subject, though it does offer some evocative moments and terrific music along the way.

Modine makes it work anyway thanks to his charm and charisma. His enjoyably playful performance helps prevent Miss Virginia from feeling entirely like an issue-of-the-week television movie.

Pound of Flesh should reasonably satisfy his core fans, even if they're more likely to watch it on VOD than in theaters.

Too outlandish to be fully convincing, this adaptation of the best-selling memoir sacrifices subtlety for broad laughs.

The film weaves enough social, political and personal themes into its mix to make it interesting even for those who mainly think of "hockey puck" as a Don Rickles insult.

Visually stunning if dramatically logy and willfully enigmatic.

Manages to be effective even though the Indian drama is rough around the edges.

St. Agatha is less overtly gory and supernatural-oriented than most efforts of its ilk, such as the recent "The Nun," but it provides plenty of chilling, if slow-moving atmospherics and strong performances.

The film offers enough low-key goofy pleasures to provide an amusing diversion.

A slight but sweet effort that serves as an excellent showcase for its Mexican star, Jaime Camil. The effortlessly charismatic performer delivers a winning performance in this romantic comedy that somehow manages to work despite its endless contrivances.

Tales of cynical curmudgeons rediscovering their humanity have long been a cinematic staple, but Wonderful World brings a refreshing lack of sentimentality to its take.

This religious-themed drama earns points for proselytizing in more narratively compelling form than usual. But while the film is watchable and features some effective performances, suffice it to say that it isn’t exactly All the President’s Men.

Like some children who aren’t so cute anymore after they’ve grown up a little, this follow-up lacks much of the appeal of its predecessor. While the film provides the elaborate action set pieces, colorful villains and save-the-world plot mechanics expected of the comic book movie genre, some of the magic is missing.

For a younger generation who think that Madonna and Lady Gaga represent the heights of outrageousness, The Outrageous Sophie Tucker stands as a much needed reminder that they have a very large debt to pay.

While Imperfections lives up to its name with its too clever by half plotline and failure to find a coherent tone, the indie film features enough enjoyable moments to overcome its flaws.

Essentially a chase movie infused with buddy comedy elements, the film is a fast-paced, mildly entertaining lark that’s chiefly enlivened by Cusack’s droll performance.

There’s no denying the inherent emotional power of watching Wampler, aided by two experienced climbers, endure his arduous quest to climb a mountain twice the height of the Empire State Building.

More interesting conceptually than dramatically, Eric Nicholas' thriller Alone With Her boasts a highly clever technological conceit, albeit one that was exploited many years ago to a lesser degree in "The Anderson Tapes."

It helps that the characters are all sympathetic and appealingly played, with Monroe terrific as the beleaguered Kenna, desperate to meet her daughter, and the charismatic Withers making the most of his character’s agonizing over his torn loyalties.

Blair Erickson’s inventive low-budget horror film doesn’t fully live up to its provocative premise, and its extensive use of the found-footage style gives it an all too familiar feel. But it offers some genuine scares along the way, as well as a terrific performance by the ever-reliable Ted Levine.

This assemblage of star-filled shorts makes for a generally rewarding grab bag.

The 3-D effects come fast and furious, rendered with a technical skill and humor that gives this otherwise strictly formulaic slasher picture whatever entertainment value it possesses.

Gurukulam succeeds in its goal of immersing the viewer in its gentle and spiritual setting. Whether you'll achieve enlightenment watching it is another question.

Although undercut at times by self-indulgence that includes navel-gazing narration by the filmmaker, Rock in the Red Zone delivers a moving portrait of a musical community that's managed to survive under far greater pressures than worrying about the next gig.

Directors Stephen St. Leger and James Mather fill the film's obvious narrative gaps with enough witty banter and tongue-in-cheek humor for audiences to overlook the subpar special effects used throughout.

Meyer, whose credits include co-directing and co-editing the classic Grey Gardens, largely employs a fly-on-the-wall approach here that sometimes makes for less than compelling viewing. Nonetheless, the film earns points for the importance of its message.

A surprisingly effective debut effort from writer-director Robert Kirbyson.

Wastes its promising premise with a wavering tone that veers uneasily between camp humor and, pardon the expression, straightness.

The documentary raises important and substantial questions about an issue that has only become increasingly relevant in recent years.

Inconsequential but intermittently charming.

While plenty of information is imparted in the impassioned proceedings, the film loses some impact because of its lack of a compelling structure.

A slow-paced and often confusingly plotted crime drama that never lives up to the delicious potential of its premise.

Although Postcards From London ultimately doesn't quite live up to its considerable ambitions, it offers plenty of arresting moments along the way.

For all its fandom and self-indulgence, Dear Mr. Watterson does offer some insightful musings about the decline of comic strips in general, with their content ever shrinking due to the diminished state of the newspaper industry.

The film is more impressionistic than informative, lacking the necessary dramatic structure to make it truly compelling.

The film delivers an evocative biographical portrait of Talley.

This is a powerful story that deserves to be told — even if it's rendered in sometimes less than cinematically compelling terms. And at this point in the twilight of her life, Marthe Cohn deserves every accolade that comes her way.

The picture will naturally hold its biggest appeal for racing buffs but may also prove appealing to nonfans thanks to the moving story at its core.

American Selfie inevitably feels a bit scattershot at times, no doubt due to the vagaries of Pelosi's travel schedule and her guerilla shooting approach. Some of the footage is revelatory, some feels overly familiar.

Scream VI will probably prove as popular as most of its predecessors, proving that if you give the people what they want — namely lots and lots of gory stabbings with a little satire thrown in — they will come.

The film suffers from overly melodramatic plotting in the final act that feels contrived. It's far more effective in its quieter, more observational moments.

To say that the storyline is cliched is giving it more credit than it deserves. But the film manages to succeed anyway, thanks largely to the quiet charisma and likeability of its physically imposing leading man who manages to hold his own even playing opposite the scene-stealing tykes.

The film relies heavily on the charm of its lead performers, and both rise to the occasion.

The writer-director’s affection for his characters — the script is loosely autobiographical -- is both palpable and infectious.

It all plays as artificially as it sounds, but as tautly directed by David Yarovesky (Brightburn), Locked manages to maintain its silly but arresting premise throughout its fortunately brief running time.

Supervized is never quite as inspired as it should be, but it offers some amusing moments along the way.

Ted's Boston-accented zingers are expertly delivered by the director/star, whose voice talent is undeniable, and Wahlberg again demonstrates that he's skilled at comedy.

Featuring a terrific performance by Ryan Barton-Grimley in the lead role, Repatriation is a modest indie film worth seeking out.

Scott's film chronicling the rise of one of the world's fastest-growing sport is best geared to fans, presenting those of us with merely a casual interest with far too much information and repetitive footage of snowboarders in action.

The film's main draw is its cast, all of whom have seen more illustrious career days but nonetheless can still deliver the goods.

Impossible Monsters at times gets too baroque for its own good, straining for a Ken Russell-like hallucinatory style that it doesn't fully succeed in pulling off. But it's an admirably ambitious and accomplished debut for its tyro filmmaker who should easily move on to bigger things.

Despite its frustratingly wandering narrative, All We Had does manage to pull you in, thanks largely to its moving depiction of the mother-daughter bond at its center.

Rue plays her with just the right combination of sweetness, sexuality and sass.

This intriguing if hardly revelatory account offers some provocative moments, even if the personal access doesn't really add very much.

Although clearly intended to be brimming with symbolical meanings, Lost and Beautiful — which at least is visually striking, thanks to being shot on expired 16mm film stock — never finds sufficient cinematic poetry in its dreamlike storytelling infused with neo-realistic elements.

Director Fei Xing stages the violent mayhem in exuberantly giddy fashion, although it all has the feeling of a group of randomly assembled film clips rather than a coherent narrative.

The novelty of the setting ultimately proves highly effective. Shot mainly in Eastern European locations that effectively stand in for Prypiat, which is now actually a tourist site, the film is highly convincing in its verisimilitude.

Despite its flaws and unevenness, White Reindeer at least deserves points for not providing another sugarplum-infused view of Christmas.

Unfortunately, the talented actor, while delivering a fiercely compelling performance, is let down by the formulaic screenplay by David McKenna, who explored similarly abrasive territory with such previous efforts as "American History X" and "Blow."

Being Rose suffers from its plot contrivances and cliched characters, but it means well and that counts for a lot. It's hard not to get caught up in Rose's fate, especially with Shepherd infusing her portrayal of the spunky character with subtle grace notes. Brolin is equally good, movingly conveying the loneliness and pathos underlying Max's good humor.

It should hardly come as a revelation that Black’s hardworking comedic efforts are the film’s saving grace.

The Cat Rescuers can sometimes feel manipulative, with its endless shots of adorable felines calmly and happily responding to being petted and embraced.

Worlds Apart doesn’t manage to transcend the forced and familiar-feeling aspects of its multipart narrative, but it does offer an evocative portrait of its troubled milieu, and one of its segments, at least, has genuine emotional resonance.

The doc doesn't really delve deeply enough into its important subject, but it does have the advantage of being the first out of the gate.

By the time it reaches its final act, the film rivals its American counterparts in intensity if not quite in explicit violence.

Filmed in a gorgeous, dreamlike style and Infused with heavy doses of mysticism and allegory, The Vessel is an impressive effort that loses some of its impact, however, for being so derivative.

Arquette is charmingly endearing as the frustrated Jeanne, Wilson movingly conveys his character's vulnerability as well as his bluster and McLean is terrific as the beleaguered young girl desperate to have a mane like Farrah Fawcett's.

Too often, the film gives off the feeling that it was designed for the inevitable line of toys for the upcoming holiday season, with plenty of cuddly animals of disparate types soon to line the shelves of a store near you.

An accomplished and stylistically audacious effort that all too accurately conveys the confusion and mental disarray of its subject's illness, ultimately to its detriment.

The actress, wielding a pair of swords like a chef from Benihana, remains a striking action heroine, though she's more convincing visually -- those taut thighs are weapons unto themselves -- than vocally.

While The Last Photograph ultimately feels too narratively slight to justify even its brief 85-minute running time, the intriguing film demonstrates that the actor should follow in his legendary father's directorial footsteps more often.

Uneasily blending familiar horror tropes with forced attempts at slapstick humor, Crush the Skull doesn't fully succeed in either genre, although it does provide occasional laughs along the way.

There are some thrilling sequences, to be sure, but the whole is definitely less than the sum of its parts.

Ultimately, Happily seems to bite off more than it can chew, proving more successful in its insightful exploration of relationship dynamics than its bizarre storyline. That few of its narrative mysteries are resolved is obviously meant to be purposefully ambiguous, but the results are finally more frustrating than intriguing.

Kinnaman delivers a superb turn.... Holland and White also are excellent as the boys who still love their father even while becoming ever more aware of his failings. Their quietly terrified reactions to his escalating belligerence is far more emotionally wrenching than the tired thriller genre conventions to which the film ultimately succumbs.

The film, which thankfully doesn't wear out its welcome with a scant running time of 64 minutes, is fairly prosaic stylistically. But the admittedly rough-hewn footage of the games is thrilling, and the pride and self-respect instilled in the players by their success is still evident today.

Ultimately A Bottle in the Gaza Sea adds little insight into a conflict that has already inspired several powerful dramas, such as the recent "The Other Son," and is sadly likely to be the subject of many more.

Only proves more intent on establishing an ominous mood than providing thrills. Muted and restrained to the point of tedium, the picture offers little that's distinctive to set it apart.

It's a measure of the times that the new version of The Karate Kid manages to be longer and bigger-budgeted than the original while having lesser impact.

Frustratingly timid documentary.

To paraphrase an old joke, this raucous alta kocker comedy, about a long-married Jewish couple experiencing a day from hell, isn't really very good. And the running time is so short! But the film is impossible to entirely dislike nonetheless.

Despite its admittedly intriguing parts, the film ultimately feels too diffuse and self-indulgent to represent a truly incisive portrait of its subject.

It offers plenty of cheap thrills, or more accurately cheap kills, presented with the sort of attention to bloodthirsty detail that horror aficionados crave. Pity, though, that there aren’t really any more actual grindhouses.

Although Andre Gregory's fans will find much here to savor, this rambling and unfocused portrait smacks of self-indulgence.

It winds up as little more than a mildly fun spatter picture that will be best enjoyed by undemanding patrons at midnight screenings.

It lacks the genuine wit to elevate it to a truly satirical level.

While its supernatural premise might have fueled a perfectly good Twilight Zone episode, The Brass Teapot strains to fill its feature-length running time.

Like the source material, it's ultimately less than the sum of its parts -- an assemblage of moderately interesting human interest stories that don't carry much weight on the big screen.

Queen Mimi registers as little more than a minor curiosity.

It's difficult to entirely resist the film's heartwarming portrait of decent people who genuinely care for each other and strive to do the right thing.

True to its title, Los Angeles Overnight makes excellent use of its extensive L.A. locations, thankfully foregoing the familiar landmarks that have become cinematic clichés. It's a shame, then, that the film doesn't succeed in its ambition to infuse noir tropes with originality.

Fine performances and powerful visuals only partially compensate for the inevitable air of familiarity that accompanies Marco Perego’s debut feature.

Despite some clever touches, the derivative film doesn't manage to live up to its clever premise.

The film doesn't really manage to sustain attention through its brief running time. But it is heartening to see that the filmmaker, now in his mid-80s, is as passionately engaged as ever.

This version is unlikely to strike a similar chord with young audiences while severely disappointing older fans of the original.

Indeed, the film’s main strength is not its overly familiar if convoluted plotting but rather the strong performances all around.

While the screenplay by De Paolis and Sarah Nerboso falters in its melodramatic plot elements, its incisive characterizations and well-drawn smaller moments provide some compensation.

Boasts nothing new under the sun, but it does provide a few decent scares.

That the film works to the degree that it does is largely due to the sensitive performances. Bonnaire delivers a beautifully modulated turn.

Snyder provides an ample display of the visual flair and skill for action that have endeared him to legions of fans who exhibit so much dedication that they’re willing to sit through numerous versions of his films.

Manages to be enjoyable despite its contrivances.

While this effort directed and co-scripted by Georgina Garcia Riedel lacks true comic inspiration, it provides some genial laughs along the way.

Intending to shed insight on the philosophies that led them to their victories Winning too often feels like an intertwined series of inspirational television newsmagazine segments.

The film’s chief asset is Nabaway, who delivers a subtly moving and restrained performance that transcends the contrived plot mechanics. It’s a heartfelt turn that befits this well-intentioned but ultimately reductive film.

Just identifying the references is a feast for film buffs, but the comedy here is so specifically film-oriented that the laughs, with rare exception, have no deeper resonance. The gags, both sight and verbal, come fast and furious, and more than a few connect. But the ultimate result is wearying, as if one were forced to sit through an endless succession of "Carol Burnett Show" parodies. Another problem is that the films parodied are often less than stellar; "Sleeping With the Enemy," for instance, was already a tired thriller rehash. [19 Oct 1993]

It’s hard not to wish that in the future, Harold will stick to the cartoon world where he belongs.

While the director-screenwriter clearly has a sensitive affinity for his characters, his film lacks narrative momentum and fresh observations.

While Highway Courtesans has many relevant points to make about the subjugation of women in impoverished societies, it lacks the focus and narrative momentum to sustain its admittedly brief running time.

Mademoiselle C should please fashion devotees while leaving everyone else scratching their heads.

Ritchson, whose massive bulk qualifies as a special effect itself, displays his usual charisma, but the one-note nature of the proceedings doesn’t give him the opportunity to do much more than look physically or emotionally anguished.

Only the talents of its estimable cast, also including Pierce Brosnan and Minnie Driver, manage to make it worth checking out.

While it features some pungently observational moments, Below Dreams is ultimately too diffuse and disjointed to have the desired impact.

Representing a sort of equal opportunity religious variation on an all-too-familiar theme, The Possession is a Jewish-themed "Exorcist" that, if nothing else, should discourage the practice of buying antique wooden boxes at flea markets.

If it had skipped the clichéd supernatural elements to instead concentrate on the relationship between the two central characters, Don’t Knock Twice might have emerged as an interesting film.

Never manages to rise above its thin premise, with its claustrophobic setting smacking more of stage than screen.

The film conjures a strong sense of atmosphere, with the gritty NYC locations — yes, there are still some in the gentrified city — well captured by cinematographer Juanmil Azpiroz. And the performances are first-rate.... But by the time it reaches its hoary climax...Wolves has reached such an absurd level of schmaltz that it practically feels like a parody of itself.

Attempting to be this generation's "Risky Business," The Babysitters is the sort of ribald morality tale that manages to feel sleazy and decorous at the same time.

Mild in both humor and impact, this well-cast comedy should provide welcome diversion during the holidays for audiences looking for a somewhat lighter experience than the crucifixion of Christ or the massacre at the Alamo.

Not even the estimable comic chops of Hugh Grant and Sarah Jessica Parker can lift it above the level of ordinary.

As usual, Butler brings a convincing humanity and vulnerability to his action movie heroics.

Berenger uses his weathered visage and trademark intensity to good effect, but his efforts are undercut by the overwhelmingly cliched script.

Unfortunately, this feature, originally made for Italian television, doesn't quite do justice to its stirring subject.

Despite the storyline's inherent drama, the meandering Freetown, much like the characters it depicts, takes far too long to get to its destination.

The film is elevated by the quality of the performances, with Breslin and Henley movingly affecting as the closely bound sisters and Sorvino convincingly conveying her character’s inability to function.

The film has its rewards, mostly of the unsophisticated kind, since the fight sequences come fast and furious and the cheesy dialogue has enough groan-worthy one-liners to inspire a thousand drinking games.

Actually offers some decent scares before descending into typical horror film bombast.

Desert Dancer too often lapses into generic cinematic clichés, failing to live up to the dramatic potential of its subject matter.

A confusing blend of noir mystery and screwball comedy, Testosterone never manages to reconcile its conflicting tones and ultimately lacks the wit necessary to fuel its outlandish plotting.

A Small Section of the World ably fulfills its mission of delivering its inspirational tale, but still seems mainly suitable for a corporate meeting.

As bland and forgettable as its title.

Reveals a definite been-there, done-that feeling.

Subject matter this powerfully charged shouldn't feel like a study aid.

Sub-par video camerawork and editing make the film a trying and tedious experience, despite the engaging personality and impressive physicality of its star.

If viewers have any remaining doubts as to whether or not the dams are a good idea, the gorgeous shots of the threatened landscapes are bound to erase them.

Doesn't bring anything new to its very tired genre.

Too often coming across as an elaborate home movie, the doc would have benefited from its story being told by a more experienced filmmaker who was less emotionally involved in the proceedings.

Although it features strong performances and some affecting moments, Then Came You suffers from the sort of cutesiness endemic to so many teen-oriented films, not to mention an over-reliance on montages accompanied by a pop music soundtrack that helpfully reminds you exactly what you're supposed to be feeling at any given moment.

Ultimately, the sex scenes seem of far more interest to the filmmakers than the narrative or characterizations, which are rendered in frustratingly vague and often deliberately confusing fashion.

It’s all harmless fun, other than the fact that parents will undoubtedly be forced to shell out money for cat ears for their children. Kraner is a suitably likeable presence and Estefan provides the requisite warmth as the grandmother.

The fairly routine plot is made somewhat more interesting by the infusion of issues regarding morality and faith, but ultimately Three, for all its philosophizing, is little more than a standard serial-killer movie with pretensions.

The gorgeous physicality is more impressive than the sketchy storyline of this dance-centric drama.

The central figure in Sebastien Chabot's documentary exhibits undeniable passion. Describing the object of his adoration, he comes across an intelligent, articulate and more than a little long-winded. Whether or not you'll enjoy hearing him expound at length will depend on how interested you are in gardens.

Director Campbell clearly knows his way around this sort of material, resulting in some tense, well-staged action sequences that make Cleaner reasonably diverting for its concise running time. But the film never achieves the heights of the classic actioners that clearly inspired it, and its overuse of familiar genre tropes (for once, can’t the main villain be uncharismatic, like so many in real life?) soon becomes wearisome.

Despite Meat Loaf’s hammily entertaining turn as the desperate owner of a musical theater summer camp, the film fails to live up to its obvious inspirations.

Remakes of '80s-era cult-favorite horror flicks seem to be all the rage these days. But they have to be better than this formulaic effort to replace the already not-so-great originals.

More often than not, I Still Believe feels like the cinematic equivalent of the sort of Christian pop songs its main character performs, filled with soaring choruses and heavy-handed lyrics. Every emotion is telegraphed to the hilt, with results that feel more manipulative than affecting. The fact that it's a true story only partially mitigates its more cloying aspects.

The film lacks the originality or wit to differentiate it from the countless other indie romantic comedies littering our screens.

The Convert is uneven and doesn’t fully live up to its thematic ambitions. But it’s handsomely made and thankfully avoids falling victim to white savior syndrome.

Boasts an uncommon stylization and some first-rate comic performances. But its provocative setup is undercut by its lengthy depiction of an all-too-familiar game of cat and mouse between the culprits and a dogged detective.

The sort of quirky independent comedy that strives for hipness but ultimately just feels contrived and derivative.

While God's Not Dead: A Light in Darkness proves less fiery in its preaching than its predecessors, it's also a significantly duller offering. How could it not be, considering that its main plot element involves a courtroom battle over real estate?

Terrifically effective when vividly illustrating the emergency medical procedures necessary to keep a gun victim alive, Shot falls short in terms of narrative. But it will certainly resonate for anyone who’s ever been rushed to a hospital.

Modest comedy-drama.

The Owners proves a nasty, if not exactly credible, thriller.

The most thrilling aspect of director Per Fly's drama is watching the interactions between co-stars Theo James and Ben Kingsley. Even as James sucks all the energy out of the room with his inert performance, Kingsley creates oxygen with his dynamic, wildly entertaining turn.

Although it has a visceral intensity, this teen-centered prison movie doesn't avoid the familiar tropes of its genre.

There’s much here to appreciate, not least of which is the admirable attempt to simultaneously provide belly laughs for children and emotional resonance for adults. IF may be guilty of trying too hard, but it’s a refreshing change from so many family movies that barely seem to be trying at all.

Written by "Final Destination" screenwriter Jeffrey Reddick, the film has its dubious pleasures, not the least of which is the extended sight of nubile lead actress Jenna Dewan in a bustier, high heels and killer miniskirt.

Director Power orchestrates the thriller plot mechanics with reasonable skill, and the film’s concise 90-minute running time ensures that the pace never bogs down.

Although The Reception boasts some moments of emotional truth, its small scale and claustrophobic atmosphere make it a tough sit despite its brief time.

Swing does have the advantage of boasting a fair amount of genuine onscreen talent.

What might have made for an interesting short film lacks the weight to sustain its feature (albeit, brief) length, and even the presence of Mel Gibson, Jim Caviezel (in full bloody Christ mode) and Monica Bellucci is unlikely to attract any but the "Passion" obsessed.

Despite the melodramatic plot twists, there's little emotional resonance to the proceedings, and the film's attempts to link them in metaphysical fashion prove overly ambitious and pretentious.

Golhardt's screenplay has enough quirkily charming moments to compensate for its plethora of stereotypical characters and cliched situations, and director Sherry Hormann provides a light enough touch to make the proceedings palatable, if not quite enjoyable.

Dallas Jenkins’ dramedy about a washed-up actor who learns the error of his ways through being exposed to religion doesn’t have an original cinematic bone in its body. But it’s also refreshingly genial and lacking in preachiness for a faith-based film, demonstrating that a lighter touch doesn’t necessary dilute the obvious messaging.

No one will mistake director Alejandro Chomski's Feel the Noise for great drama. But there's an undeniable sweetness to the characters, the performers are highly appealing, and the music sizzles.

Although clearly a labor of love for its creator, this coming-of-age tale about a life-changing summer for a young man dreaming of becoming an artist lacks the dramatic momentum to propel audience interest.

[Ovredal] handles the darkly creepy atmospherics expertly and makes fully convincing the ship’s fateful voyage through stormy and vampire-besieged seas. But he’s not able to bring much spark to Bragi Schut, Jr. and Zak Olkewicz’s slow-paced, formulaic screenplay, which lacks the dark wit necessary to keep us invested in the gory proceedings.

Predictable from first moment to last, it does at least provide a showcase for lacrosse, a sport heretofore cinematically unexploited.

While its blending of philosophy and B-movie conventions will produce more bemused chuckles than converts, the film certainly earns points for sheer audacity.

Bears more than a slight connection to the landmark of the genre, 1974's "Death Wish," starring Charles Bronson. It is based on novelist Brian Garfield's sequel to his original book, though any resemblance is tenuous at best.

Although well-meaning in its attempt to dramatize the stigma the subject evokes in the South Asian American community, Hiding Divya ultimately falters in its execution.

The film doesn't quite manage to sustain interest for the duration of its 86-minute running time. But it does exert a certain voyeuristic fascination, thanks in no small part to the eccentricities of its central figure.

This effort offers some mild amusement but lacks the anarchic wit to make it anything more than a slight diversion.

Has its entertaining moments and boasts pungent performances from such supporting players as Ron Perlman and John C. McGinley, but never quite succeeds in managing its uncomfortable tonal shift from dark comedy to true-crime thriller.

The coming-of-age theme doesn't mesh entirely well with the more lurid elements, and Coyote Lake doesn't quite achieve the narrative tension sufficient to lift it above the story's slow spots. The film is carried along by the strength of Mendes' emotionally complex, restrained performance that makes clear that Ester is as much victim as accomplice.

As has been previously demonstrated in the hugely successful Perry's stage, television and big-screen works, subtlety and tonal consistency are not his strong suits. Here, the mostly broadly drawn characters and situations on display quickly prove grating, with the film veering awkwardly between broad comedy and melodrama.

While the screenplay by T.J. Cimfel and David White eventually proves unsatisfying in its plot revelations, the film certainly holds your attention thanks to Schindler's tautly paced direction and Riegraf's emotionally nuanced performance.

Much of what transpires is wholly unconvincing, although the proceedings are made palatable by the highly appealing performances by the two leads, who display a genuine onscreen chemistry.

Anyone who has seen the original knows exactly where things are heading, with the result that the proceedings seem far more manipulative than unnerving.

Ultimately suffers from an uneven execution and repetitive overload.

Unfortunately, the film itself -- though it contains some superbly staged and highly lavish action sequences -- lacks the tautness of its heroine.

Taking place in real time, Mercy mercifully moves along fairly briskly. But after it’s over you’ll definitely feel the need for a digital detox.

Nothing in the proceedings rings remotely true unless you've been weaned on a steady diet of soulful hit men movies. But the film works to some degree anyway thanks to the terrific performance by Perlman, who infuses the title character with a compelling, world-weary gravitas.

Unfortunately, the Collector simply isn't a very interesting screen villain. Clad in a black mask that reveals only his eyes and mouth, he mainly communicates by heavy breathing. It makes one yearn for the perversely witty chatter of Jigsaw.

Although Martin Sulik's drama sheds light on typically unseen populations of Eastern Europe, the film, heavy on "Hamlet" allusions, may be overstuffed.

Ultimately, for all its wildly entertaining elements, Kalki 2898 AD feels like too much of a good thing, resembling the sort of lavish buffet meal that leaves you feeling overstuffed and exhausted. But fans of this particular style of cinema are not likely to mind.

In the Tall Grass is at least impressive on a technical level. Cinematographer Craig Wrobelski manages to find every conceivable way to make tall grass visually ominous, with Mark Korven's spooky score and the ambient sound design making valuable atmospheric contributions as well.

For all its effective atmospherics and performances, Don't Go has an inevitably familiar feel.

The result is more promotional film - Springfield happens to have recently released both a new album and an autobiography - than intriguing sociology, although the rabidly intense middle-aged female fans on display are probably deserving of psychological study.

Sergei Bodrov's Mongol relates the story of Genghis Khan's early years in a plodding, uninspired fashion that doesn't bode well for the next two entries in a planned trilogy.

This tale of a teenage gang of petty criminals whose alliance becomes fractured by a surprisingly big haul doesn't generate any real suspense and lacks the depth of characterization to make up for it.

The frenetic mayhem becomes tiresome in its repetitiveness, although kids already hopped up on candy and soda will presumably not mind at all.

The film is most effective in its quieter moments.

This tale of a despondent man's attempt to find someone to help him commit suicide never really hits the emotional heights it should; it may be that the film's proponents are confusing simplicity with profundity. [30 Sept 1997]

While not exactly original, the premise is certainly effective enough. But Brightburn lacks the visual stylization or wit to elevate it from the realm of the crudely effective B-movie.

Diluting its powerful themes with overcooked melodrama and unnecessarily distracting subplots, The Other Story would have benefited from a simpler, more direct approach.

The fight scenes are extremely well choreographed, filmed and edited, but they’re so relentless in their non-stop pacing that the viewing experience becomes numbing.

This documentary about Howard Zinn provides an effective if not necessarily comprehensive or objective portrait of the esteemed historian and activist.

Part murder mystery, part dysfunctional family drama and part meditation on the elusiveness of the American dream, Motherland doesn't fully succeed on any of its levels.

While this tale of a couple experiencing myriad romantic ups and downs has its occasional amusing and insightful moments, Meet Me in Montenegro doesn't quite render its characters' foibles endearing.

More stylishly filmed than many others of its ilk, but at the end of the day, is just an ordinary slasher film.

More trick than treat.

The performances are first rate; besides Woods' solid turn as the emotionally scarred cop, Fukuhara is movingly vulnerable as the frightened Nori and Miyavi takes full advantage of his natural pop star charisma as the long-haired young man who holds the key to the mystery.

While Ryan’s bountiful charm is as evident as ever, her character unfortunately comes across like an older version of the manic pixie dream girl. And the movie’s heavy-handed magical realist elements counter the slightness of the material to deadly effect.

This week's campaign commercial, er, political documentary, is a portrait of Democratic candidate Sen. John Kerry's service in Vietnam.

Family dysfunction has proved a rich resource for documentary filmmakers in recent years, but "October" lacks the narrative drive and emotional resonance of such examples of the genre as "Tarnation" and "Capturing the Friedmans."

While Giuliani Time offers a wealth of important information that many might have long forgotten, its impact is diluted by its heavily biased nature and lack of balance.

The combination of diverse casting and female empowerment themes results in a perfectly politically correct Aladdin for these times. The only thing that seems to have been left out is the magic, which is a bit of a problem considering that one of the main characters is a genie.

The screenplay, credited to the five original Blazing Saddles writers as well as Ed Stone and Nate Hopper, is relentlessly silly but only intermittently funny.