Megan Lehmann

The gay sex scenes that punctuate Eloy de la Iglesia's limp Spanish comedy, Bulgarian Lovers, are frequent and graphic, and it often seems as if the lackluster story exists solely to showcase them.

The frantic nuttiness of the stylistically dynamic Huckabees is often laugh-out-loud funny, but amid the pandemonium there's a sense of truly rigorous soul-searching.

An earnest undertaking that unfortunately plays like a trite Lifetime movie.

Ironically, what's lacking in Howard's stark, often brutal, late 19th-century chase drama is emotional punch.

Ben Stiller's overbearing schtick officially reaches its expiration date with the desperate and puerile Dodgeball: A True Underdog Story.

Despite a crafty premise and a clever kink in the tale that almost saves it, Connolly isn't dexterous enough to achieve the Hitchockian level of suspense the movie needs.

The two leads have strong singing voices, but they're not helped by songs with titles like "It's Time to Disco."

Occasionally stagy and flat, "Die" is worth seeing for Busch's grand performance, which won him a Special Jury Prize at this year's Sundance Film Festival.

The tiny stage can barely contain Reno's gale-force personality, as she paces and rants a stream-of-conscious monologue.

Bart Everly followed Frank around for two years, yet his film seems to consist mostly of regurgitated C-Span and news footage from the period, interspersed with asides from the outspoken liberal.

Diva du jour Beyoncé Knowles may be the draw, but the real star of The Fighting Temptations is the sensational gospel soundtrack.

Nair makes Vanity Fair an elegant showcase for an unforgettable heroine.

Twinkles and glows, but all the surface razzle-dazzle fails to mask the emptiness at its core.

Predictable and uninspired romantic drama fizzles like a wet squib.

The spaniel-eyed Jean Reno ("Ronin") infuses Hubert with a mixture of deadpan cool, wry humor and just the measure of tenderness required to give this comic slugfest some heart.

Has laugh-out-loud moments of inspired idiocy. The problem is that this one-joke skit (done first and better by Britain's Ali G) has been given the Hamburger Helper treatment and stretched to feature length.

It's awkward, listless and fails to reach any sort of climax.

The problem lies with the paucity of sizzle between the romantic leads, Renée Zellweger and Ewan McGregor. They just don't look like they're having any fun together, particularly the bony Zellweger, who has trouble filling out the wow-worthy ensembles and perpetually looks like she's sucking on a lemon.

An exploration of the way the sins of the father trickle down to his offspring, is dense with quirky characters and subplots all woven into a rather heavy-handed meditation on the evils of globalization.

Can that achingly abstract thing called love be captured in a beaker or dissected like a frog splayed on a slab? That's the belabored premise of this dorky, clinically structured romance cooked up in the Sundance Institute's screenwriter and filmmaker labs.

Apart from some irritating and redundant camera tricks early on in the film, director Blair Treu plays it white-bread straight, delivering an uncommonly inoffensive, after-school-special-style teen flick.

Despite his innate appeal and nimble line readings, Grace can't surmount the deficiencies of the underdog character screenwriter Victor Levin ("Mad About You") has saddled him with.

What is astonishing is that husband-and-wife writers Wally Wolodarsky (who also directed) and Maya Forbes, with combined credits that include "The Simpsons" and "The Larry Sanders Show," could churn out something this nasty and ludicrous.

There are more misses than hits among the myriad plot strands that make up the sweaty Spanish sex comedy KM.0.

Some of the plot points are confusingly vague, the tone lurches wildly between genres, and the film's epilogue pushes the bounds of believability - but The Hard Word could never be accused of being predictable.

It's a chaste "Austin Powers," a less ridiculous "Casino Royale," a more subtle "Spy Hard" — in other words, yet another James Bond parody.

Another big, dumb action movie in the vein of "XXX," The Transporter is riddled with plot holes big enough for its titular hero to drive his sleek black BMW through.

A visual treat diminished by lifeless dialogue and self-conscious acting.