Paul Malcolm

Unfortunately, none of the characters -- despite the film's strong cast -- ever seems worthy of the attention.

A mind-numbing exercise in high body counts and big tits.

There’s a lot to like in writer-director Ray Yeung’s low-key romantic comedy, once you get past its overly enunciated identity issues, which were, according to Yeung, the film’s raison d’être.

Baldwin's perfectly impacted performance as a tough-love provider (the actor gets some of the best lines in the movie).

"It's no longer funny, but he refuses to give up the joke." That just about sums it up except for the film's shopworn plot -- and its wretchedly cheap production design.

If, as it appears, Rosenthal is competing with the knife-wielding Myers for the title of biggest hack, he wins by unanimous decision.

(Lawrence)'s not just unfunny, he's coarsely anti-funny. The film just lurches from one dull skit to the next without bite or much of a point.

Grisman's warm, loving home movie in the guise of a documentary.

It does, however, fairly bubble with speed-freak energy and a dry, laddish wit that keeps the jokes coming.

The sharpness of Eyre's opening, however, ebbs away when he takes up the story of Rudy (Eric Schweig) and Mogie (Graham Greene), two brothers with neatly opposed responses to the reservation grind.

Despite their appeal to patriotic horror fans, the makers of An American Haunting end up doing more harm than good to domestic fright production.

It's an amusing scenario, until even Miike seems to lose his taste for the oddly sweet concoction and allows the film to drift aimlessly to a rainbow-hued finale.

What at first seems emotionally charged, ultimately comes off as contrived.

Remarkable exploration of sexuality and the Jewish faith.

Murphy slogs his way through this dismally dull sci-fi comedy.

Writer-director Avi Nesher and co-screenwriter Roger Berger -- upon whose real-life investigations the film is based -- deliver on the hard-boiled promise of this low-key thriller with plenty of gritty twists and turns.

An ostensible action-comedy that can't seem to get either side of its genre equation right.

While there are scenes of wrenching emotional openness and spontaneous charm -- largely due to the irresistible allure and impeccable craft of its ensemble cast -- the degree of calculation apparent in its plot and images undermines its efforts to move and seduce.

It boasts none of the studio's high-gloss animation. That said, Recess is not without its charms.

Working from a script by David S. Goyer ("Dark City") that lacks any sense of humor or character, Snipes seems unsure if he should vamp it up or play it straight, while Dorff just plain sucks.

Seems stuck in reverse.