As hard as the film tries to pander, the kids at the preview screening seemed a bit disengaged.

A superior soap opera, evocative at times of Warren Beatty's "Reds."

Ridiculous but occasionally fun.

German supermodel Uschi Obermaier slept with Mick Jagger and Keith Richards, and all we get is this lousy biopic.

The labored storytelling in this movie about displaced ambition diminishes the impact of the powerful performances.

Overlong, neither funny nor scary movie about a big lizard.

The actors make this fun if you can overlook the ludicrous view of Jeremy Leven's screenplay.

Schmidt works the slasher formula for all it's worth, but the repulsive stereotype at the center of the movie dampens the fun.

Wretched yuletide comedy.

A so-so romantic comedy.

Keith is an awkward, galumphing presence, but he's more fun to watch than Kelly Preston as the girl's uptight mother.

Proof positive that comedy is hard, this debut feature by Hue Rhodes offers a wealth of skilled players and admirably offbeat gags yet seldom manages to generate any laughs.

By now the hypocrisy of simultaneously condemning and exploiting the audience's sadism has become so commonplace in American movies it hardly seems noteworthy.

Beautiful story of doomed love.

Jamal (Martin Lawrence), starts trying to make the best of a bad situation, which becomes our job too.

There's so little urgency to the plot that one eventually feels not even the actors and filmmakers believe for a second in what's going on.

Whitney frames this as the pilot for a reality TV show, but if that doesn't pan out he can pitch it to al Qaeda as a recruiting tool.

Has exactly the same premise (Repo! The Genetic Opera).

This big-budget bubble-gum musical is appalling but compulsively watchable; it's the perfect crystallization of a 13-year-old girl's taste, circa 1980, complete with roller discos, dreamy boys, fashion shows, and fantasy father figures. Director Robert Greenwald has a lot of ideas, all of them bad: his style could be described as rapid misfire.

The color-coded cinematography is nice but the jokes are obvious and the dialogue drags whenever metaphysics gets brought up.

The pretty-pretty visual style is evidence of a close study of Days of Heaven, as well as a complete misunderstanding of it. With Leo McKern and William Daniels; photographed by Nestor Almendros, forced into garish effects far below the level of his talent.

Ugly Americans in Paris have run-ins with the native werewolf culture in this horror-for-laughs story, in which the characters' stupidity and the deadpan acting are out of sync--instead of being campy or clever, the plot and performances are just unconvincing.

Platinum-selling singer Usher is one hell of a clotheshorse, but he's too amiable to be convincing as a leading man--not that anyone is particularly believable in this feeble comedy.

Horror maestro Christophe Gans ("Brotherhood of the Wolf") directed this feature, worth seeing for the zombie nurses who gyrate like a Bob Fosse chorus line before slicing each other to ribbons.

Plays a bit better than it sounds. I miss the show's mangy, minimalist sets, but the slapdash narrative construction and good-hearted schmaltz survive intact.

Pretty funny caper comedy.

This stupidly contrived thriller is all the more disappointing if you admire previous work by Berry and director James Foley (After Dark, My Sweet).

Unwatchable-and, thanks to its high-decibel action sequences, barely listenable-this misbegotten medieval fantasy/stoner comedy marks a new low for David Gordon Green.