Screenwriters Paul Attanasio and Daniel Pyne stick to Clancy's sure-fire formula -- building tension from the political infighting behind a worsening crisis.

Whereas "Posession" was relatively light on its feet, this is so overloaded from the outset that it can only sink.

Disposable teen romance.

Sicko horror flick.

There's wonderful use made of a Maine port town, and Ruben gets a dizzying thrill or two out of overhead shots, but the conceptual overload finally prevents this from coming together.

The general idea is to exploit a certain amount of role reversal, and Reginald Hudlin, who directed "House Party," does a fairly good job of making this fun.

The third remake of "Invasion of the Body Snatchers" (1956) may not be a patch on the original, but it does have a few things the other versions lack.

The narrative emphasizes how much danger Spurlock is in and how noble he is to embark on all this while his wife is back in the U.S. expecting their first child; it's a little insulting to all the real reporters who've died in the field looking for hard information, not weak indie comedy.

How long do you have to be gone to make a triumphant return to the screen, and how triumphant can your return be when all three movies are duds?

Saldana makes this watchable, James supplies a fitful plausibility, and director Olivier Megaton (a former graffiti artist) keeps things racing along, preposterously.

This sequel to "Fantastic Four" (2005) drags in the Silver Surfer, who looks like a gigantic hood ornament and, given voice by Laurence Fishburne, has about as much personality.

Sheridan gives this a pacing and depth one doesn't often find in "urban" product, though Jackson, reliving his own life traumas, is handily upstaged at every turn by Terrence Howard (Crash) as his oddball manager.

Harrison Ford carries this talky, formulaic thriller by virtue of his authority, culled from years in front of the camera, but his performance can't obscure the obvious plot machinations.

This is one of those slick, violent, ridiculous Hollywood jobs that make little sense as a story, a comment on life, or a depiction of characters, but are moderately enjoyable in their spinning of movie conventions. There's even a good De Palma-style fake shock ending.

Like most of Perry's movies, this one oscillates wildly and shamelessly between raunch and pathos, leaving plenty of room for the performers to work. The lively ensemble includes a scene-stealing Cassi Davis as pothead Aunt Bam.

Though director Ulu Grosbard is as good as he usually is with most of the actors, the story problems tend to stump him too.

Despite a continuity problem or two, this is one of those rare contemporary romantic comedies that actually work.

Big, schmaltzy melodrama with mini melodramas.

The violence is suggested in a way that's neither overwhelming nor insulting to a child's intelligence as this crafty fairy tale ultimately finds a way for human and vampire characters to live and let live.

This sitcom setup is as bad as it sounds, and Cox never really surmounts it, though the characters deepen significantly after the missionary is caught caressing the waiter and sent home to be excommunicated and shamed by his family.

It's a powerful psychological conceit, but Samuell subverts it at every turn with his carnivalesque style and canned Gallic wistfulness.

It's ultimately hamstrung by storytelling that seems both underdeveloped and overdetermined.

The violence is minimal, and the humor is inoffensive enough for tots, but everything is damned soft--from the fuzzy backgrounds to the enemy's diluted Germanness.

The director of "American Pie" has set out to make a merciless satire of American media culture along the lines of "Network," but his ideas are so commonplace that nothing registers except the bile.

This story of a girl growing up in the occupied territories never finds its footing.

This is eye-catching and forgettable in the patented Bruckheimer manner, which means you should be entertained if you're not expecting anything new.

Alas, most of the surprise and the wit to be found here ends with the title.

This comic fantasy is the best vehicle he's (Sandler) ever had, a high-concept goof that gradually darkens into an emotional nightmare reminiscent of Capra.