Hampered by the kind of overacting that the cast seems to enjoy more than the audience.

Too bad the overreaching script has to go after effects recalling "Alien," but as a stylistic exercise this still has its chills.

Kruger's elaborations on the original mystery are superfluous, but Watts gives this everything she's got.

Kasi Lemmons directed this tepid thriller, whose only genuinely creepy aspect is its cavalier and uninformed use of mental illness and classical music to heighten the meager suspense.

Affecting and offbeat.

An effects vehicle disguised as a metaphysical meditation (or a metaphysical meditation disguised as an effects vehicle?), this strikingly unimaginative 1998 movie contains visuals that can barely assert their niftiness amid the vacuous themes.

Director Jacques-Remy Girerd often divides the frame into three vertical bands, each with a different color signature; this dynamic technique makes the eventual introduction of explosive action sequences seem like overkill.

With very little modification, this archly innocuous children's musical could have been marketed as a sequel to Invasion of the Body Snatchers.

Feeble exercise in brain-teaser noir.

Full of high spirits and good vibes.

Every eerily tranquil shot, weirdly elliptical scene, and peculiar line reading contributes to a mood of detachment rather than creeping dread.

Carefully re-creates the first movie's lightweight romance and mildly cheeky gender comedy.

Of some interest for promoting rapprochement between India and China, this is still awfully silly.

It's not your usual story line, but Widen makes it sufficiently plausible; unfortunately, the film's fireworks ending isn't as subtle or spooky as the rest of the movie.

At its best this 2005 feature wickedly satirizes the politics of pity--how healthy people buy off the dying with gifts and imminent death becomes a kind of stardom. But the sap begins to flow.

As the imperious actress (and whore) Elizabeth Barry, the unlikely object of Wilmot's affection, Samantha Morton finds the soul in a woman who's hard as nails, and Tom Hollander and Rosamund Pike also provide excellent support. The haunting score is by Michael Nyman.

As the bad guy, Jason Patric gets the funniest lines, but there are plenty to go around; though rigidly formulaic the movie is undeniably good-humored, if you don't count all those minor characters getting shot in the face.

You can't be both political and incoherent, and even though Kelly's models are "Kiss Me Deadly" and "Blade Runner," this vision of the near-future suggests a random blend of "Dr. No" and "Faster, Pussycat! Kill! Kill!"

The great cinematographer Tak Fujimoto has the time of his life on this low-budget horror feature, playing with dolly shots, abrupt zooms, and negative space inside the widescreen frame, and the fun is infectious.

Given the audacity, it would be a pleasure to report that the results are hilarious, but most of it isn't even funny, and the sense of "anything goes" hangs heavy over the film as it develops.

Loaded with facile social themes, opaque characters, pointlessly intricate flashbacks, and inflated technique.

Overwritten by Billy Crystal and Peter Tolan, overdirected by Joe Roth, overplayed by most of the cast, yet typically undernourished.

Pure punishment, this rote action flick from Australia.

This terrible live-action comedy based on Jay Ward cartoons has its moments and its near misses.

A dearth of game footage and a wealth of inspirational platitudes contribute to the sense of a powerful tale having already faded into yellowed newspaper clippings.

Has the enthusiasm and naivete of a first feature.

The racial satire is about as subtle as a sledgehammer, but there's something exhilarating about so blunt a weapon being swung with such wild abandon.

Because so many female characters spend so much time trying to seduce Harrelson (usually successfully), the notion that multiplicity enhances intrigue is pretty worn out by the time any duplicity is revealed.