Julia, Huston, Ricci, and Workman are all excellent in their roles (Carol Kane as Granny Addams seems little more than an afterthought), but they're unfortunately not enough to save this elongated mess. If you haven't yet seen the first film, rent that instead, or, better yet, go pick up a volume of the original Addams cartoons.

With a concluding chase/shoot-out episode that might even make Hitchcock jealous, Carlito's Way is a dandy piece of entertainment. If the story needs a bit more depth and reason, who really cares? There's hardly time to notice.

Unfortunately, this kind of sledgehammer comedy has worn thin over the many years since Mack Sennett first hit on it.

This is for kids, mind you, it never transcends into farce and even the sheer joy of watching the three of them is overwhelmed by the mundanity of the story and the stereotyping of the fall-in-love-at-first-sight women characters.

Gorgeously lensed and delightfully structured, however, this is, in a word, wonderful.

About as two-dimensional as a comic book, RoboCop 3 should be regarded as the last strike-out.

The amazing thing in Ropelewski's film is just how much of this lowest-common-denominator pabulum has been recycled from the foul spillage of the previous two films. Once again, needlessly, we're treated to lengthy scenes of the family singing and clowning about with treacly plasticity, fantasizing, dreaming, whining, mewling... it's all too much, grating on your nerves and leaving you desperately in need of a healthy dose of cinematic sanity. Or, at the very least, genuine humor.

Director Nunez, whose previous films (Gal Young 'Un, A Flash of Green) are also set in Florida, has an ability to translate states of mind into their native environments and vice versa. In this instance, his regional realism combines with Judd's transfixing performance to create a movie that sticks to your ribs.

Flesh and Bone is far from a comfortable experience to witness, so if you like your films “over easy” this will not be to your liking. But if you like entertainment that cuts to the marrow, then Flesh and Bone is something to see.

The best thing this film has going for it are the outstanding performances of Pitt and Lewis as a sort of white trash Romeo and Juliet cum Henry Lee and Becky. Pitt is especially believable, so much so that he eerily captures the sociopathic persona of a real-life killer from a true-crime book: the thin, easy-going veneer that masks an evil sense of an absent conscience.

The wonder of The Piano is that such an outwardly simple story could emerge into such a complex swirl of lingering memories.

Director Reiner (All of Me, Sibling Rivalry) takes -- ahem -- a stab at parodying those wacky ice-pick thrillers of the Nineties and barely breaks the skin.

Nightmare’s macabre humor is very adult, yet the storytelling is woefully simplistic.

If you resist the ride, this will come across as saccharine and obvious, but powered by Astin and fueled by such fine performers as Beatty, Prosky, Taylor and Dutton, the film .

There's just enough plot to keep things moving but never too much that it gets in the way of the basic fish-out-of-water gagfest. The Beverly Hillbillies' greatest achievement is its inspired casting.

Basically a rehashing of previous genre films, Hopkins borrows heavily from such superior efforts as Philip Kaufman's The Wanderers (minus that film's gang motif, natch) hoping that no one will notice.

Director Chen and screenwriters Lilian Lee and Lu Wei (based on Lee's original novel) create a tapestry of detail woven with visual spectacle, historical saga and human drama. At over 2 1/2 hours running time, Farewell My Concubine is both too brief and too luxurious.

Araki's self-described “guerrilla” style of filmmaking has just the right edge here, yet is polished enough not to distract. In this respect, Totally F***ed Up is a much better film than Araki's last effort, The Living End. Although the teenaged ennui in the film sometimes comes off as hip nihilism, there's no question that the pain and turmoil depicted is anything but heartfelt.

The script is fueled by genuine wit, everyone turns in fine performances and, beginning to end, the film actually shows some thought, if little originality.

The plot in Mr. Nanny is flimsy, mostly tenuous excuses for making Hogan kiss a doll or sing a lullaby or dress in purple leotards and pink tutu while whomping on the bad guys. But so many things in the story make so little sense that you have to ask yourself why the people involved in the project weren't asking themselves more questions from the get-go.

Gere is excellent as this disturbed fellow; his twitches and too-happy smile are right on the money, but this only serves to illuminate the ramshackle state of the rest of the film, which is a shame: good, honest films dealing with mental illness are exceedingly few and far between. This, however, is not one of them.

Carver's stories are obviously inspiring for Altman, and that's the point, this movie is bursting at the seams with ideas and energy.

Despite the sheer gorgeousness, it ends up feeling false and, towards the end, rushed.

Often silly but almost never funny -- no matter how often it practices the same jokes.

More than acting, the real culprit in Malice is the script by Aaron Sorkin (A Few Good Men) and Scott Frank (Dead Again) which favors florid dramatics over plausible theatrics.

The movie sucks. It has an idiot story.

To be fair, there are some genuinely funny bits here, but the film's aim is so scattershot that it never really comes together like it should, and, as a result, it rarely rises above the level of Mel Brooks on a bad day.

One of the most exciting movies of this, or any other, year. It's smart, funny, and wonderfully crafted and performed.