The wrestling scenes are the best part of this drama.

Disturbing--if less sophisticated than the best SF (science fiction)-horror TV.

Maybe writers Josann McGibbon and Sara Parriott were thinking of Tracy and Hepburn--assuming they were thinking of anything--but not even Roberts's smile can put this one over.

Two generic ideas amount to nothing in this theatrical dark comedy about violence and information overload.

The real drama is the city itself, steeped in history yet undergoing a Western face-lift.

As a ditz who's just smart enough to know something isn't right, Lyonne blends hyperbole and sincerity in perfect proportions.

As with many R-rated studio comedies, the transgressive humor isn't nearly as offensive as the phony sentiment that's supposed to redeem it, supplied here in stale scenes of the sitter bonding with his little charges.

This bloated 2006 historical epic flatlines early and never regains a pulse.

This semianimated adventure is enjoyable and imaginative despite its formulaic qualities.

"B.S. I Love You" would be a more accurate title.

The movie offers an insulting "let them eat cake" gesture toward the 1982 audience, but the pacing is so ragged and the characters so lifeless that few will be able to stay awake long enough to feel offended

Weak comedy.

This video sequel to the gay comedy "Eating Out" (2004) is funnier, lighter, and faster paced.

An odd cross between "Mad Max" and "Dragonheart," this movie is all borrowed ideas, but it's still trashy fun.

The script lacks wit, and the in-joke references to cinematic sci-fi classics will soar over little kids' heads without pleasing many adults.

There's no formal stylization to speak of, but this is, after all, a film about performances, and Medak simply points his camera at the actors and lets them chew away. Some of the chewers are better than others, and Harvey Keitel and Frank Langella especially, coming from opposite poles of intensity and languor, deliver the honest emotional goods.

I was seduced part of the time, thanks largely to Bonham Carter's sensuality, but the whole is unsatisfying, and it's tempting to see the imposed recutting as a major source of the problem.

As long as Efron's shirt comes off, he could play an accountant and no one in the target audience would care.

It's silly adolescent stuff, but director Brett Ratner and screenwriters Paul Zbyszewski and Craig Rosenberg serve it up gracefully.

Thematically, this has a lot to do with the sexiness of class difference and the hypocrisy of marriage and double standards, although, as often happens in porn, the “dream sequences” by the end make it hard to know what's actually happening in terms of plot. But customers looking for photogenic flesh and passion, with a passing plug for safe sex thrown in, won't have much cause for complaint.

Pretentious and dull, this Uruguayan exercise in magical realism takes place during the annual carnival in Montevideo.

The talented director Bill Duke (A Rage in Harlem, Deep Cover), who brought distinction even to The Cemetery Club, his previous outing, goes to sleep here, and it's hard to blame him; why stay awake for insulting hackwork like this? James Orr and Jim Cruickshank wrote this malarkey.

Considering the 32 writers (including Tom S. Parker, Jim Jennewein, and Steven E. de Souza) who worked on this live-action adaptation of the 60s Hanna-Barbera cartoon series about a Stone Age family, one might have expected a few funny lines here and there, but this is mirthless (and worthless) from top to bottom.

Big laughs are few and far between in this 1998 movie, which is more successful as motivational anecdote than as comedy.

Directed by George Bamber from a witty screenplay by David Vernon, it veers between screwball farce and feel-good sitcom.

The families' hopes for a tasteful, upscale wedding are sabotaged by warring egos and low-rent, walking-stereotype relatives.

Offers the same crudely effective variation on the hatred and fear of hillbillies in "Deliverance."

On the plus side, it isn't boring, and Jolie and Ethan Hawke, who plays an art dealer and key witness, generate a certain amount of edgy chemistry. But eventually the filmmakers' desire to shock and tease overtakes any feeling for character or common sense.