Gregory Weinkauf

This Trinity may be the least of the three--sound familiar, Matrix faithful?--but it's the closest in style and attitude to a pulpy comic book, an art form that doesn't need to be lofty, perfect or even sensible to tickle a dork's fancy.

You'll get that $8 nap you've been craving.

A tight, rockin' popcorn flick packed with nasty kicks, the year's first major sequel is a rare beast, matching and in some ways superseding the original movie.

Sadly, though, the movie as a whole feels blatantly dedicated to fleecin' da kidz.

Merhige is too talented to be dismissed as a wannabe, but here his gifts for clever angles and oogy feelings are tethered to blasé genre redundancies and clunky storytelling. Looks great, less thrilling. I blame the screenwriters.

Director Christopher B. Stokes (House Party 4) shapes up the fabulous dance sequences with undeniable energy, and real-life brothers Houston and Grandberry are two of the most enjoyable musicians to appear onscreen since Sting played a bellboy.

Unhampered by imagination and driven solely by libido.

Ultimately, it's the hip cast that keeps things hopping.

It may be his (Greenaway's) breeziest and kindest-hearted effort to date.

Taken as a whole, the movie seems to be searching for a harmony it never really achieves.

This beast is as subtle as a Red Bull enema, but it succeeds magnificently as compulsively watchable spectacle.

A vicious, hard-core version of "Thelma and Louise," going nowhere near the Grand Canyon but leaving a trail of carnage in their wake.

Rife with silliness, such as the flashbacks within flashbacks of characters who were not with one another at the time, and occasional unintentional laughs -- but it's also a good, raucous kick in the behind, which is literally all it aspires to be

The extra-short length is puzzling -- about half an hour has been lopped off the length of the original Canadian release -- but what remains feels whole and wholly satisfying, a rare, successful merging of the obvious and the haunting.

Visit Red Planet, and you'll boldly go where everyone has gone before.

Equilibrium improves as it rolls along -- either that or, ironically, it wears down the senses until the viewer succumbs.

As a whole it's vibrant, witty and richly detailed.

Tethered to screenwriter Gail Parent's adaptation of Dyan Sheldon's novel, plus the demands of bigwig producers, it's a testament to Sugarman's artistry that she sustains her funky playfulness--a hallmark of her earlier work--throughout most of this film.

It's Tommy's job to clean the peep booths surrounding her, and after viewing this one, you'll feel like mopping up, too.

This compression of logic--coupled with two hours of ham-fisted delivery--guarantees that Antitrust won't jangle your nerves but will intermittently split your sides with laughter.

Since the movie arrives and succeeds as entertaining B-movie fare, we may as well appreciate all of its howls, beastly or unintentional.

Here's a popcorn movie with soul, welcoming the masses to consider how much can change in popular culture over 30 years, as the horrific becomes the familiar.

Grind does evince a true love for skating, and both the street action and the actual competitions are brilliantly performed and slickly lensed. That it's also funny and excels beyond Youth Culture 101 is a nice bonus.

As a thriller, The Butterfly Effect is iffy and uneven, but as a portrait of a people, it's effective and intriguing.

This bloody stab at William Castle's 1960 gimmick flick substitutes chaos for chills.

Although DeSalvo performs the miracle of making these characters seem like people we actually know, occasionally her delivery definitely makes us wish we didn't.

A mind of overcooked pasta and a stomach of iron may get you through it, but it really is worth considering how desperately you need cheap chuckles while executive producer Adam Sandler and his favorite charity case laugh all the way to the bank.

There's a modicum of charm to Timeline, since its eager, earnest tone harks back to Donner's work from the '80s, particularly "The Goonies" and "Ladyhawke."