To call this campy would be charitable.

Most of the confrontations are shot in close-up, dragging us into the melee as the grungy-looking actors spit out their venomous dialogue.

Would be sweeter if the fair maiden weren't such a pill and more exciting if the villain weren't quite so nasty.

Ill conceived or badly handled.

The compositions and camera movement are both precise and elegant.

Sometimes come together exquisitely.

It's all very impressive without being particularly enthralling.

Writer-producer Paul Kimatian was once a still photographer for Martin Scorsese, who reportedly encouraged him to write this Italian-American soap opera. Given its tired dialogue, predictable situations, and vicious street fighting, Scorsese may wish he'd kept his mouth shut.

Its ponderous explanations about why there are vampires in Arizona in the new millennium (blah, blah, blah).

The story, which is even dumber than it sounds, is told in flashback.

Not unlike "Eyes Wide Shut," this is an eerily earnest contemplation of fidelity, and it's pitched as farce.

This early-1900s costume drama surely differs from Henry James's source novel.

May persuade you to identify not with race-car drivers but with race cars.

Almost too clever for its own good.

The running joke about coffee enemas will date this innocuous, crowd-pleasing adventure comedy.

Might be for you. Or you might be bored anyway.

This kind of filmmaking is riddled with so-called errors, but these mistakes are indistinguishable from the uncommon rewards.

The earnestness of some of the drama in the only deceptively unsophisticated narrative may be more shocking than any of the gross-outs.

It's also about pain, which both tempers and complicates the eroticism.

The most striking thing here is a performance by Robert Forster, as one of the older men on the boat, that's so terrific everything else in the picture pales beside it.

I could have done without all the pushy tactics of this romantic comedy.

This underdog comedy and its title character have considerable charm.

The insultingly trendy post-postmodern tale rationalizes its own product placement by using overkill.

Satisfying in small ways.

The connection between his boasting about killing and killing so he can boast about it -- is made beautifully insidious.

Only Depp and Ray Liotta (as Jung's father) manage to animate this tired formula.

Screenwriter Marc Moss can take credit for the film's laughable dialogue.

A watchable thriller.