Kevin Maynard

Offers nothing but tired "Red Shoe" Diaries-style sexploitation for the art-house crowd.

Strives for folksy charm but ends up just lying there like a plate of kippers.

It's dull, two-dimensional, and totally toothless.

It's Zahn's heartbreaking performance that drives Riding in Cars with Boys.

A barrage of dangling plot strands, inconsistent characterizations, and suspense-free shootouts.

The rapper-ever-increasingly-turned actor -- is having the time of his life, big pimp styling in a flashy wardrobe as he guts and struts.

The appealing cast makes the most of the derivative story.

Thanks to the first-time filmmaker's attention to character, Gun Shy is worth at least a shot at a matinee.

Considerably less fun than a marathon of Star Search episodes.

A chronic snore. My advice: Roll a fatty and re-rent the first one.

Doesn't come close to the pulp beauty and complexity of classic noir.

This is slight stuff, but the legions of budding Scorseses and Kevin Smiths might actually learn a little something, and they will certainly enjoy a chortle or two -- even if it is at their own expense.

In its attempts to chart a young girl's journey from innocence to experience, The Invisible Circus ends up having all the heft of a Nancy Drew mystery decked out in a tie-dyed T-shirt and peasant skirt.

Reitman has truly lost his gift for comic rhythms, cluttering up the film with running yuks that aren't that funny the first time and certainly don't improve with repetition.

Despite being full of Oscar-winning talent, this is still just a better-dressed, drawn-out episode of "Touched by an Angel."

The film's a vacuous bore.

An intermittently irresistible entertainment.

Hard to watch -- not because of its unflinching realism, but rather for its mawkish reliance on every boy hooker flick from "Midnight Cowboy" to "Johns."

An enjoyable female buddy caper -- more "Outrageous Fortune" than "Thelma and Louise."

Crude and witless.

The film's title accurately captures the sensation of sitting through it -- stay home.

Limp satire isn't worthy of its good intentions.

Shows its roots early on: Mixing the high camp of "Strictly Ballroom" with Monty's gritty milieu, the film comes off as little more than a contrived composite, despite the best efforts of pros Rickman, Richardson, and Griffiths.

One more attempt to pass off chopped liver as foie gras.