It's pretty good fun, once it gets going, but still makes some of the same mistakes that have plagued other Hollywood films that interpolate the concepts of Hong Kong action.

No doubt Fox wants to tap into those Latina dollars, but you've got to spend money to make money, and this shoddily cheap-looking product ain't gonna do it.

The songs are actually quite good--if also hideously embarrassing--but these comedians take their roles far too seriously, to their peril and our puzzlement.

What's most astonishing is that a film populated by two madmen can grow so wearying and dull; the movie crawls toward its climax, which is so barmy it's almost surreal.

This unstinting look at growing up in the 1990s never pulls its punches. Bridging the angst of Generation X and the uncertainties of Generation Y, Chick reveals the romantic traumas, career screwups and self-absorbed fantasies of a group of eastern college grads.

It almost plays like a darkly comic "Peanuts" special.

The 3D, effective but not yet totally awesome, masks a world of sins: Ghosts can be an awfully tedious voyage-to-the-bottom-of-the-sea.

If your expectations aren't too high, there's lots of cool shit on-screen.

We do glimpse the dynamic interplay between rising comedian Eddie Griffin's hilarious obsessions and the loving, screwed-up people who made him what he is.

Nobody can convey more while doing nothing than Thornton. And while his minimalist style is appropriate for the ironically named Levity, what is conveyed never quite generates the emotional charge of "Monster's Ball."

When the action sequences work, they work well; the climax cribs heavily from 1989's "Batman," but improves on Tim Burton's finale.

Very sketchily based upon "The Reluctant Debutante" (minus the charm, plot, and characterization).

The movie's so hung up (pardon) on its gimmick it never transcends it; might have been better had Kiefer called Moviefone.

Standard revenge shenanigans ensue, with more boo-hoo numbers from Vin, who ain't up to it -- he hasn't been this lame since, uh, ever.

Nolte’s charisma transforms Neil Jordan's The Good Thief from a vague, mildly exotic, character-driven caper flick to a soulful and engaging misadventure.

This project is not the last word on Fellini, nor does it replace the director's bizarre self-portraits in Intervista or the TV special A Director's Notebook. It even irritates a bit, as none of the speakers is identified until the end.

Sometimes the laughs here seem unintentional, but most giggles are properly earned, and the movie's fun and exciting if you can accept its inherent camp factor.

While Sollett provided cast members with a detailed breakdown of the story--a kind of narrative guide--he wanted them to improvise their own dialogue based on how they would react to a similar situation in their own lives....The result is quite extraordinary.

In the end, Stevie is a relentlessly messy, sometimes trying picture of family dysfunction, official neglect and personal tragedy, a disturbing redneck soap opera about real people and real consequences in which the protagonist--like the filmmaker--often proves to be as unlikable as he is sympathetic.

Assassination Tango is Duvall's fourth, yet it still feels like a first film; worse yet, it feels like a waste of an undeniably great actor.

Basic really brings to mind a Travolta film from 2000, "Battlefield Earth," in that it's so astonishingly awful it becomes a sort of kinky pleasure; just when you think Travolta has fallen to the bottom of the barrel, he pulls out a shovel and dons his miner's helmet to see what lies beneath.

Chris Rock gets to direct himself, and as a result is finally starring in a laugh-out-loud funny movie.

Condensing, paring and shorthanding the story elements can be daunting, and, despite the efforts of Kasdan and Goldman, two masters at wrangling unwieldy source material into shape, there is some awkwardness and confusion in the result.

The movie features several political themes for adults and is mostly delightful for kids. Just consider yourself warned about the live-action Carly Simon video at its tail end.

Has plenty of dark horror style, but it lacks the weird charm of the 1971 original starring Bruce Davison...It's a nice homage.

Akerlund and crew use their full arsenal of lenses and editing techniques in service of leaving you spun, but it's undeniable that this movie was produced by steady hands and thoughtful minds.

Jones seems to have trouble keeping up with the large amount of action he's required to participate in. And Del Toro seems ill-cast and ill-used.

Essentially the movie's an excuse to show off cool gadgets and co-star Angie Harmon's cleavage.