Jane Horwitz

Although it breaks new ground visually, elements of the tale don’t always meld with grace.

A visually and verbally ingenious sendup of romantic comedies that wears its candy heart on its sleeve.

“House” sometimes loses track of convoluted plot points and skimps on exteriors. But it does a fine job of capturing the childlike wonderment that suffused those earlier films.

Fresh and rainbowy as a midday Hawaiian sun shower.

Undercover Blues offers a perfectly enjoyable, completely forgettable hour and a half. After all, how hard is it to watch pros like Quaid and Turner have a good time knocking around with a lovable baby? As Quaid coos to the toddler, "It's a bad world, isn't it, sweetheart? You 'n me 'n Mom are gonna make it better, right?" Quaid, Turner and the kid do make this movie better, but it isn't good enough.

The new Darn Cat moves faster, has a few more laughs, nonviolent villains who are barely seen, a never-ending car chase climax, and gives more than a passing nod to such phenomena as teenage discontent.

Mr. Nanny, a dumbed-down variation on Kindergarten Cop, uses the same ingredients that made the (only slightly) classier Schwarzenegger comedy a hit: A muscle-bound galoot, hired to protect young kids, puts them in even greater jeopardy while he slam-dances with the villains. Those ingredients don't blend well in Mr. Nanny, and they sure leave lumps.