Take this one for what it is, an entertaining Disney comedy of really large proportions, and you'll have a ball.

The interfacing of the two-dimensional and three-dimensional characters is so shabbily accomplished that it makes you start noticing all the other technical glitches in the work.

As the robotic duo, Lundgren and Van Damme have found roles tailored to their acting abilities.

It's too bad that Gas Food Lodging is as disconnected as it is because there's a real current of feeling here, especially in Balk's sympathetic performance and the film's unflinching depiction of a single woman trying to raise a family on her own. Rather than make a lasting impression, it makes only a passing one, as impermanent as the momentary view of a dying town on the highway.

For those looking to be stylishly entertained while learning more than anyone might ever want to know about the formation of the Bergman psyche, well, here it is.

Prelude to a Kiss holds its own as a comedy, especially considering the lightweight competition this summer. It's just too bad it never really rises to its promise as a romance.

It's not even funny. Nor does it contain half the wit or charm as the old Doris Day sex comedies it so resembles.

The story of the short-lived women's baseball league gives Marshall the opportunity to examine the roots of modern feminism and have a darn fine time doing it.

Oddly enough, Unlawful Entry can keep you from sleeping but when you wake up the next moring, it's hard to remember much about the movie.

Visually, Batman Returns is marvelous to behold. There are images on that screen that make you laugh with delight and admiration for the sheer imaginativeness of it. But Burton also brings up some really interesting themes only to lose interest somewhere along the way.

The problem is more the overall tone: unpleasant, divisive, snarling and deceptive.

It comes across as yet another in a long line of poorly produced horror/paranoia bloodbaths, short on everything except cheesy effects.

Despite the lame narrative, Kid 'N Play also manage to prove that they are a smooth team who can roll with the flow of intermutual comedic energy.

Despite its predictability and sappiness, this conventional comedy about a worldly lounge singer who masquerades as a nun as part of a witness protection program busts loose as one of the funniest -- and happiest -- films in a long time.

There is a richness to Far and Away that seems wasted on its simple love story straight out of "It Happened One Night."

Fincher's camerawork gives the movie a jittery feel, and his video-trained eye lends the prison sets the look of a dilapidated cathedral, but again, there's really nothing here that we haven't seen before, and better, at that. Nice title, though.

Like some sort of evil Hollywood hybrid, Encino Man begs, borrows and steals the worst bits from both Iceman and Fast Times at Ridgemont High and ends up being just as vacuous as you think it is.

In the end, Zentropa is above all unique in its radical take on the inherent confusion of postwar Europe, offering the viewer a glimpse like none he has had before.

It's bigger, but it ain't necessarily better.

The way the destinies of four people converge in a small Arkansas town in One False Move is nothing short of wondrous.

Problem is, the movie shifts gears abruptly in mid-story and what had previously been merely melodramatic extremism turns into hyperbolic horror.

Split Second turns out to be one of those dreaded “so-bad-it's-good” debacles, and a marginal one at that. Ed Wood, where are you when we need you?

Even the usually unbearable Rourke, who plays yet another psychopath here, is surprisingly subdued and effective -- his performance gives the film its menacing undercurrent. Although Daniel Pyne's otherwise sharp screenplay falls short in explaining why who's doing what to whom, perhaps a little ambiguity is necessary in a movie in which appearances are deceiving. After all, sometimes, you've just got to take these things on faith.

Turturro-Nelson-Smith come across as nothing more than three strangers with an out of synch, watered-down routine that flounders as a pale imitation of their hallowed predecessors.

It starts out promising, using the conventions and trappings of the fondly remembered Ward cartoons, but after a bit of good silliness with maps, stock footage, and the flustered narrator, a convoluted espionage plot, and way too much effort in fleshing out our two heroic villains results in a film that's as hard to follow as it is to laugh at.

Director Duke (A Rage in Harlem and countless TV work) rivets our attention with his tightly framed shots and crisp editing that intelligently revives that bygone tradition of jump cuts (though they confusingly disappear completely midway through the movie).

This is primarily a children's movie and I have a hard time working up much rancor against a movie as campily perverse as this one is.