The first Revenge of the Nerds was a pretty stupid movie. But it was partly redeemed by its genuine affection for the nerds themselves - it made us like them a lot, and you couldn't help feeling good when they came out on top. Nerds in Paradise is also a stupid movie, with more than its share of cheap vulgarity, and it doesn't do so well at making the heroes really lovable.

The acting is sincere and the camera work is pretty, but this art-movie variation on "The Sixth Sense" doesn't have enough energy to fulfill the high promise of Berliner's previous picture, the enchanting "Ma vie en rose."

It would take a lot more than holy water to rescue Season of the Witch from mediocrity.

A highly calculated attempt to recalibrate with raunch the family entertainment template and cash in.

Admirers of "Do Androids Dream of Electric Sheep?" and other Dick literature will enjoy this nonfiction look at the writer, his career, and his eccentricities, some of which were as bizarre as his fiction.

This romantic comedy is so awfully misjudged and ineptly executed in every department that, while it isn't quite a contender for the "so bad it's good" category, this critic was nonetheless dabbing tears of laughter from his eyes.

Repetitious teen-targeted fluff.

The sweetest thing about Sweet November (a remake of the 1968 movie) is the on-screen magic between Charlize Theron and Keanu Reeves. But that's pretty much where the magic ends.

The blend of live action and animation is competently done, but the subtly mean-spirited screenplay has more sour meows than hearty laughs.

As coarse, vulgar, adolescent action comedies go, Beverly Hills Ninja comes across as relatively tame - less profanity, less violence, less sex than typical for this "Naked Gun" wannabe.

Even as they've smoothed the novel's rough edges, moreover, the filmmakers have tried to cram a maximum number of its incidents into about two hours of screen time. This gives the picture a hectic pace that adds to its feeling of weightlessness and unreality. Poor casting, especially in the major roles played by Tom Hanks and Melanie Griffith, doesn't help.

Cube is cute and Long is lovely, but the youngsters are too brash and smug to bear. At least there's a heartwarming end to the excursion.

The Muslim women in “SATC2” are props in the froth. Come to think of it, so are Carrie, Charlotte, Samantha, and Miranda.

The bad thing about A Guy Thing isn't the talent of its stars but the warmed-over triteness of the material they're forced to work with.

The film tries to revive the sort of good-hearted optimism associated with Frank Capra classics of the 1940s era, but pictures like "It's a Wonderful Life" and "Mr. Smith Goes to Washington" were never so simplistic, syrupy, or tedious to sit through.

Cartoonish effects and overacting make this more corn than catnip.

The subculture of weekend warrior bikers is such rich comic material that the ineptitude of Wild Hogs is doubly offensive.

It's intermittently amusing, and Bening actually gives a performance instead of a star turn, but the claws should have been sharper.

Blending animation and live action, this ferocious fantasy is hopelessly vulgar in ways never dreamed of by "Who Framed Roger Rabbit."

Frivolous but fun, somewhere between a comic "French Connection" and the craziest Nascar race you never saw.

Everyone tries very hard to make the story sweet and funny, but the soggy screenplay defeats them every time.

Surely it couldn't be meant as dramatic realism! But it is. And amazingly, the movie gets worse as it goes along.

I hope Keaton doesn't begin to make a specialty of these roles. They play into what is least attractive in her repertoire – the loosey-goosey, knockabout side of her that all too swiftly devolves into hysterics.

The acting is solid and the heroine's quirky dialogue is amusing for a while. But repetitious writing and a weakly constructed story turn the promising premise into a disappointing mishmash of crime, politics, and show business.

The movie isn't boring, exactly. It's too nutty for that.

The movie starts with insights about the need for more humane values in health care, then buries them under an avalanche of frivolities, vulgarities, and clichés.

Borderline unwatchable, although, as is true of all Gilliam movies, it certainly is different.

A suggestion to screenwriters: Stop telling stalkers that their passion isn't misplaced and that the girl will come around in the end. It is, and she won't. Just give it up.