Mark Holcomb

Director Goyer, who wrote all three Blade films, deserves credit for sticking with the character, but aside from the effectively staged action sequences Trinity is cheap-looking and laughably inept.

First-timer Wayne Kramer brings pathos to Bernie and Shelly's fraught relationship, but his film never amounts to more than a cute idea stretched to poker-chip thinness.

The film's real flaw is its limited focus.

A quietly impassioned, genuinely stirring indie rarity.

As with the director's other films, all that keeps Unfinished from being a complete, treacly bore is its robust performances.

Despite Herrington's skill at capturing the physicality of the game, Stroke is strictly for golf nuts and masochists--assuming there's a difference.

Fans of Hellblazer are bound to be disappointed.

Actually manages a fresh perspective. The director, camera in tow, had unimpeded access to the devastation for a full day before being shooed away by officials, and the footage he captured (sans commentary) is both gut-wrenchingly familiar and disconcertingly foreign.

There's something refreshing about a pulp drama that turns on the notion that redemption is a sucker's fantasy. That knowledge may not have saved Goines, but it informs Dickerson's adaptation and results in stellar neo-noir.

Weird, frivolous, and impossible to dislike.

Despite a couple of inventive CGI effects (one involving mass evisceration), the results are more predictable and less frightening than a Con Ed bill in mid August.

Avoiding this lump of low-camp lion poo couldn't be easier, what with MGM dumping it into a lone Manhattan venue, but if you're in the mood for some unscripted belly laughs or a catnap, Fascination should do the trick.

There's nothing wrong with a little creative license, but the abundance of self-serving fabrication in City by the Sea not only diminishes LaMarca's experience and cheapens McAlary's work, it all but desecrates the memory of the real murder victim.

The most that can be said for Slackers -- aside from the unqualified pleasure of Schwartzman's unfaked, puppyish weirdness -- is that it doesn't abandon its putrid ideals for the sake of a neat finish.

Woo's film is in some ways closer to Dick's -- and his own -- pulp roots, and if he lazily quotes himself (and, inexplicably, Aldrich's "Kiss Me Deadly") once too often, he at least gets loose, spirited performances from his cast -- Uma's post-"Kill Bill" gravitas notwithstanding.

To call this action gambit formulaic is to sell it short: The Rundown runs down more formulas than a month's worth of complimentary premium cable service.

Griffin and Solvang's obliviousness, and the filmmakers' habit of mugging condescendingly while conducting interviews doesn't help either.

Like the action movies of yore (you know, the 1980s), Catwoman is simultaneously overstuffed and undernourished.

He (Jacobs) and cinematographer Chris Menges compose the film largely in close-ups, and the effect is appropriately unnerving. Regardless, unfavorable comparisons to "Nine Queens" are inevitable.

While far from perfect, Hitch is a rare studio product that earns the goodwill it smugly demands.

A callous piece of work that exploits images of children in pain or jeopardy.

As earnest and smart-alecky as an entire season of Designing Women, Ya-Ya is sure to score with its redemptive family melodramatics and stock eccentric characterizations.

At its heart is a deep, unresolved ambivalence about child rearing.

Levant and his screenwriting posse attempt to wring maximum hilarity from this setup, but it's just too schizoid.

The climactic shocker is far too exacting, but Lewis nails the milieu, and has the sense to not spell out every motivation in capital letters.

Anand manages to work in shamelessly exploitative September 11 footage between numbers, but aside from this sequence, Love couldn't be more giddily benign.

This sly, sobering doc exposes the grievously fucked-up priorities surrounding the sport in a small town with little else on which to hang its hopes.

No "Triplets of Belleville," this French animated feature was hatched as an idea for a video game, and it shows.