Janice Page

Isn't all wrong. But even at its very best, it's just all right.

Despite timely and worthwhile subject matter, there is nothing very inspired or inspiring in what makes it to the screen. Maybe they're saving all of that for the sequel, too.

Serves up a silly story and clunky dialogue that gets better than it deserves from Jennifer Aspen as Lenny's would-be girlfriend.

An overwrought story of American politics and image-making that really only gets interesting in the final act.

Underdog! Rest assured, there is no superhero cliche left unchewed; they even manage to slide in a "Lady and the Tramp" homage while they're at it.

Dukakis gets off some of the film's best lines and keeps the worst from sinking the whole affair; Polley's role is limited, but her character's audition for a feminine hygiene commercial is by far the best thing here.

The film logs almost all of its laughs when it's at its crudest, meanest, and most unfiltered. Everything else - and that is to say most of the movie - is a big, fat, derivative waste of time.

If ridiculous, hackneyed, gratuitously violent slasher movies aren't your thing, don't go near Venom with a 10-foot snake pole.

Think of the lamest horror movie you've ever seen. Now think of Tara Reid in the lamest horror movie you've ever seen. See how much worse it could have been?

Dylan and Nikki are an awkward match at best, and their combined story is about as creative/convincing as a Hallmark card.

In the end, the thing that Cussler's fans will probably object to most is the nonsensical way Sahara manhandles his story.

Ignore the hype. You won't find anything startling or memorable in the derivative Hide and Seek.

No one in the film offers a shred of real proof that IBM cheated.

Put it this way: National Lampoon's Gold Diggers makes "The Anna Nicole Show" look sophisticated.

It's a warmed-over suspense thriller that's more disturbing than it is surprising or scary.

It can’t be recommended even to people who mostly just want to see Amanda Seyfried naked.

Fienberg’s film spends most of its time trying to convince us that true love starts when you stop playing games. Then, in the final minutes, it reverses itself and puts gamesmanship back up on another wobbly pedestal. The result is hard to cheer.

The next time Grodin attempts a comeback, it would be so great if he avoids movies where he might be upstaged by a sandwich stunt.

But this film, with its many cliches and borrowed substitutes for creativity, suggests his (Schroder) career in the boxing arena might have peaked with ''The Champ."

Falls flat on two fronts: It's neither deep and interesting enough to be a brainteaser nor sufficiently thrilling to count as a mindless diversion.

If all the first "Deuce" had going for it was a regular-guy approach to over-the-top humor, that's completely absent in this follow-up.

You can't blame John Cusack for jumping at the chance to play Igor.

It winds up being predictably charmless and forgettable, even as a travelogue or iPod download.

None of these characters provides more than a smattering of laughs, but Def is the one guy we might like to see more of, if only because his role is small and better executed than it deserves.

The real problem with The Astronaut Farmer is that it has no spark.

Comes up short when things get serious, resorting to cliches and a whole lot of hooey about "moral fiber."

Ultimately, Jordan's vision is so murky that Ned Kelly remains as foreign to us as wombat stew.

When the big twist is revealed at the end of The Life Before Her Eyes, you might think the only way to appreciate its cleverness is to see the film again. I did that. It didn't help.

Come on. You want to know if it's funny. And the answer is: kind of.