As summer shoot-'em-ups go, this is pretty well executed, with plenty of macho posing and gunfire.

The premise provides a fine showcase for the two appealing actresses, who appropriate each other's vocal and physical mannerisms with dead-on accuracy.

Its brutal take on living under totalitarian rule periodically suggests Orwell's "Nineteen Eighty-Four." Mullan makes the authority figures (such as the nun played by Geraldine McEwan) grimly believable, but as in "Orphans," there are times when he doesn't know when to quit.

According to common usage, the French word stupide comes closer to silly than to dumb, which is how I might rationalize my affection for this harebrained, obvious, but euphoric tale.

The film is equally good in handling the discrepancy between skilled and unskilled parents.

Screenwriter Adam Herz is calling this third installment the last, and not a moment too soon: his characters have grown up, but his gags are still trying to graduate from high school.

For the most part I was able to accept this thesis and enjoy Lopez in her usual superwoman role, but the script does get awfully preachy in spots.

The absence of any moral center makes this a bitter pill.

Like Robert Altman's "M*A*S*H" this has a banquet scene posed like The Last Supper, but the basic idea--toothless satire trimming a dull star party--reminded me more of "Ready to Wear."

Like Fellini's "I vitelloni," this Spanish-French-Italian coproduction is a bittersweet epic about frustration and relative inertia, though with a somewhat older and wiser group of layabouts.

Rodriguez has a sure sense of scale and pacing as well as an artisan's relaxed control of the material.

This Indiana Jones knockoff goes down smoothly enough, and Jolie isn't bad at all, though every time she opened her mouth I expected Mick Jagger to come dancing down her tongue.

Maybe the magic will work for those who loved the book, but I found this film stultifyingly self-important and, despite the regularity with which it cuts to the chase, weirdly static.

Unfortunately the complicated thriller plot--with the regulation suitcase full of illicit cash--hinders the characters' emotional interactions without ever becoming credible on its own terms.

If you can get into the spirit of the proceedings, you're likely to find some fun.

For all its pretensions and avant-garde narrative dislocations, the star-studded cast...keeps this buzzing.

An impressive mix of entertainment and social comment, spinning a great mystery even as it confronts an ugly world.

This wacky Australian comedy about a struggling rock band is tolerable fun, neither as inventive as Bob Rafelson's 60s sitcom "The Monkees" nor as hilariously bad as Ron Howard's made-for-TV cult movie "Cotton Candy" (1978).

By the film's underwater finale, director Matteo Garrone has bestowed a tragic stature on the pint-size Othello who loves "not wisely but too well."

Disposable teen romance.

This putrid action flick crawls along for two and a half hours before expiring in a septic field of bad one-liners, halfhearted catchphrases, obliterated cars, vicious slow-motion bullet penetration, graphic corpse mutilations played for laughs, and shamefully hollow bonding scenes between its two dyspeptic megastars.

The banal score seems more appropriate for a western, and there's a certain self-conscious theatricality in the mise en scene, yet this is both handsome and affecting.

They're all instructive and interesting in one way or another, and they're indispensable viewing for residents of isolationist, or at least isolated, countries such as this one.

On its own modest terms, this romp delivers.

This inept 2003 melodrama has become a Rocky Horror-style cult favorite...As someone who's watched more bad movies than you can imagine, I'm mostly immune to the so-bad-it's-good aesthetic, though I can see how, viewed in a theater at midnight after a few drinks, this might conjure up its own hilariously demented reality.

The film flits from one relationship to another, dispensing some well-acted bedroom scenes and a fair amount of angst and philosophical dialogue in a neighborhood bar.

The movie overextends a patch of folk mysticism toward the end and then adds a silly whimsical coda, but as a comedy of errors it's often hilarious.

The story's resolution isn't very satisfying, but I considered most of this movie time well spent.