Luke Y. Thompson

The fights are mostly cool, save the final one with too many quick cuts, and the morphing graffiti and tattoos are nifty. If only the rest of it weren't so stupid.

What it lacks in story, it makes up for with sharp dialogue and an amusing Walter Mitty-esque style.

As Bundy, Michael Reilly Burke (Octopus 2: River of Fear) has just the right amount of charisma and menace. It's his performance that makes the movie, giving a relatively shallow script more depth and character nuances than likely existed on the page.

Though the film came out a year ago in the U.K., the timing here is unfortunate, and one has to wish that, like so many bigger productions, Liam could have migrated to a more-distant release date.

Unfortunately, it's also pretty banal -- translating the songs into English reveals just how dull their lyrics and sentiments really are. The colors are pretty though.

Your individual tolerance for Jimmy Buffett music will determine how well all the scenes set to his music go down.

Soderbergh seems to have found his vision again. It'll be a great day when he returns to writing his own material, but until then, this is none too shabby.

Saw II, despite the swift turnaround time, improves on all of the first film's problem areas, while leaving intact everything that was good about the concept.

As far from crowd-pleasing as you're going to get these days.

If you're not in the mood for explicit discussions (and occasional depictions) of the sex life of French adolescents, close your eyes.

The budget is low and the acting grade C at best, but director Lorena David stages one or two genuinely impressive stunts, and the script, by newbies Scott Duncan and Ned Kerwin, manages to skillfully maintain the plot's central mystery all the way to the end.

Director David Zucker has fallen a long way since the days of “Airplane” -- here, he seems to think endless hilarity can be milked from an animatronic owl and a running gag about urination that even the French would reject.