The filmmakers go to obvious pains to add a bit of nutritive value to their sweet, frothy confection.

This new film version, sad to say, is a hollow shell of the original series.

There are, of course, the requisite trial sequences, and some mildly horrific shocks along the way, but Ruben and company fail to make any of this very interesting.

After it has ended, you may want to view it all over again, just to see if you can beat the odds and pick up on what you missed the first time around.

Miner strives to imbue the film with the requisite autumnal haze of the original but then gives up midway through and instead resorts to the standard stalk 'n' slash formulas.

Sick, twisted, and very funny, Parker and Stone have arrived. Again.

The playful and well-meaning spirit of the film carries it through its shakier moments of awkward narration and inscrutably busy camerawork.

The film is an atmospheric work, a period piece set in the 1840s during the dawn of the Age of Photography with a dense and moody visual style that befits its Brönte-esque subject matter.

The Negotiator falls short of greatness by a country mile; it's too chatty for its own good sometimes. But it's still a solid shoot-'em-up.

Vanilla and sweet, it's an overly generous helping that, if it doesn't make you sick, will put you in a good humor all day long.

A bitter, bloody masterpiece with adrenalized emotions and hyper-realized images, this is perhaps as close to battle as any sane human being should ever hope to tread.

Many have already heralded Poirier as the cutting edge of the new French cinema, and while that may be overstating things a bit, it's worth noting that this is a road movie unlike any other you've yet seen.

However, Lyne (whose sexually exploitative works include such popular box-office fare as "Flashdance," "9 1/2 Weeks," "Fatal Attraction," and "Indecent Proposal") has turned in a Lolita that is remarkably tame and tasteful. This is a Lolita for the English Lit crowd rather than the raincoat crowd.

A pleasantly vicarious slice of summertime falderol, innocuous in its presentation and often genuinely fun.

A surprisingly large number of the laughs work, although, understandably, a good number of them also fall flat. You can bet that whenever the story slows down to advance the plot concerning its paper-thin characters, the film takes a noticeable dip.

Brilliant, surreal, and emotionally draining, this first feature from American Film Institute grad Aronofsky recalls such low-budget sci-fi epics as "Tetsuo: The Iron Man" and more traditional paranoiac suspense films (Adrian Lyne's "Jacob's Ladder" in particular, but also Polanski's "Rosemary's Baby") and yet manages to be a wholly original animal.

Not only is the franchise growing hoary, by now it's become downright laughable, leaving Lethal Weapon 4 feeling more like a bad Fox sitcom than anything else.

Yet a nigh-miraculous blend of high spirits, poignancy, gentle satire, and unpretentious insight into the nature of human aspiration make this one of the most impressive films you're likely to see this year.

It's big, it's stupid, it's pretty kick-ass.

Hardly a serious caper film, Out of Sight instead takes a lighter approach, effortlessly offering up as many unexpected chuckles as it does bullets.

The cast is uniformly excellent in their roles, and Eyre's persistent use of long, trailing shots reinforces the story's elegiac tone.

In the end, it's a love story after all, but a peculiarly Gallocentric one -- cheap, nasty, but salvageable nonetheless.

Given a choice between the puerile but essentially innocent whimsy of Dr. Dolittle and the dimwitted nastiness of, say, "Dirty Work," parents should be grateful for the Eddie Murphys and Jim Carreys of the world for at least providing a kinder, gentler option.

I Went Down is a small, unexpected treat that promises full satisfaction.

Solid, workmanlike stuff, and enough to keep the legions of X-philes sated until next September. And since I realize some of you are dying to know, no, Mulder's butt remains, as always, fully clothed.

Disney's latest animated feature hearkens back to its heyday fare, a sweet and captivating tale that pits gentle, enduring goodness against dark, malevolent forces.

With Henry Fool, however, Hartley has made his most dynamic and accomplished film to date.

The film's cast, all unknowns with the exception of comic/Broadway performer DeLaria, acquit themselves well, with the skinny, innocent-eyed Stafford a credible Candide navigating a new world of experience. His grounded performance charters Eric's stumbling progress to a sense of self that befits Edge of Seventeen: without apology.