Not bad to look at, but consistently unedifying.

Betty Thomas, directing a script by TV veteran Jeff Lowell, seems uncertain whether to sympathize with her three heroines or with the title cad, but there's something mildly charming about this cheerful revenge comedy's lack of any straightforward moral agenda.

This lame comedy was adapted from a recent British TV movie, though its (quite literal) money shots of the women squealing and hurling cash in the air reminded me of 80s greed capers like "Trading Places" and "A Fish Called Wanda."

The lawyer is marvelously played by Evelina Fernandez, who wrote the screenplay based on her play.

Nothing miraculous, but it's time pretty well spent.

For all the high-tech allusions and middle-tech illusions, the movie--the 23rd in an immortal series--draws its power from its grittiness and unresolved allegory.

As an "Animal House" romp about consumer slackers in a New Jersey mall, it's harmless enough--just don't expect any sort of edge. Smith has left the working class to become just as boring as everybody else.

Even though Kristy is seen mainly through the uncomprehending eyes of Jake, McGovern manages to fare better with the cliches thrown at her than Bacon does; but neither has a prayer of scoring at a game whose rules and players might have been dreamed up by a computer. Even the cutesy minor gag of putting the title's initials on the hero's license plate has something grimly nonhuman about it.

Once the special effects take over, Berg has little room to assert his personality (or tell a story, for that matter), and the movie feels like a chore.

Pleasant bubblegum romp, which was inspired by the old Sandra Dee picture "The Reluctant Debutante."

The "Big Fat Wedding" formula dictates a certain amount of ugly-duckling fantasy along with the ethnic scenery chewing.

Delivers state-of-the-art freeway thrills tenuously held together by an absurd plot, cheap but pretty leads (Martin Henderson, Monet Mazur), diner and gas station locations that look like they've been preserved in amber since the 1950s, and plenty of engine porn.

The ostensible humor here is of the macho one-liner variety, and much of it falls flat. There is just too much Ratso and Cowboy for us to believe in Butch and Sundance.

Director Paul Morrison forfeits any meaningful statement about art for a pedestrian coming-out story, based in part on Dali's unreliable, self-aggrandizing memoirs.

The gender-bending comedy of Billy Wilder and Blake Edwards gets a teenpic makeover in this 2005 debut feature by Martin Curland.

Val Kilmer, clearly pleased to be entering the Oscar disability sweepstakes, does what he can as the hunk who learns how to see.

The received notion that kids want their movies fast and furious is barely in evidence in this 1997 comedy, a laboriously slow suburban adventure.

Everything wrong with today's hipster comedy seems to coalesce in this toothless satire.

There aren't that many laugh-out-loud jokes in this comedy, yet Billy Bob Thornton's portrayal of ass-kicking gym coach Mr. Woodcock is almost worth the price of admission.

Smarter than its predecessor, the movie aims for the "High School Musical" market.

This melodrama by writer-director Tommy Stovall has a good premise, but he undercuts it with contrived plot twists, pedestrian pacing, and mostly two-dimensional characters.

Director Ry Russo-Young, who cowrote the script with Schnabel, is gunning for a big generational statement, but her ordnance is strictly small bore.

Geek-triumphs-after-all comedies can be charming, but in this one the triumphing begins so early it's hard to feel for the geek.

This gently satirical farce is atmospheric when dabbling in religion--the chef turns to spiritual magic to defuse her passion for her husband--and moving during her heart-to-hearts with her friend.

An extravagant waste of resources.

Though the film lacks the frantic imagination of its inspiration, Robert Rodriguez's "Spy Kids" franchise, grade-schoolers should still enjoy its fresh-scrubbed humor and fantasies of youthful omnipotence.

The movie gets off to a weak start, but the jokes get progressively more bent.

Despite the lowbrow story, this is supposed to be tasteful; expect modest nudity, swelling strings, and plenty of water imagery.