Carpenter oscillates between high horror and lowbrow camp, which is more unsettling than the scenes of decapitation and dismemberment, and drives a steak through the heart of Woods' fine performance in the process.

A creepy, if disjointed exploration of the nature of evil. But compared to its predecessor, it's also a bit of a disappointment.

The wackiness that unfolds is boring, ridiculous and, to most, offensive.

Take the safety off of the comedy Magnum called Happiness and put the barrel in your mouth. You'll laugh your ass off as it takes off the back of your head...It could be the best film of the year. At the very least, I'll never forget it.

Holy Man is just a dumb romantic comedy passing itself off as something else.

Succeeds at pushing the technology as well as and offering intelligent family fare that won't leave adults bored. Great fun.

Its forced slapstick egregiously mugs the audience for laughs.

What's so disappointing is that the film had so much potential as a concept. The story slowly degenerates into a plodding, sappy bore.

I don't want to say any more about the plot, it's just too much sick fun.

The concept is intriguing and the car chases are pure adrenaline.

Sure, it's lighthearted fare, but that doesn't make it any less of a good film.

The stunts are great but they make sense and don't blow the sense of reality of the whole movie.

Hobbled melodrama with obvious "Terms of Endearment" pretensions.

While the tail end of the film does receive cheap laughs, it really does ruin a very emotional end to a rollercoaster ride that is, after all, a man’s tragic life. In fact, if it were not for this tacked on, sleazy wrap-up, the film would have garnered an even higher rating. Do not let this fact dissuade you from seeing this film. It is well written, well acted and extremely engrossing. Just find out exactly when the film ends and leave about five minutes before and you will be very satisfied.

It's too bad with all of the poker action there wasn't enough time to establish the relationships between characters.

If you were expecting a small art film, you know you're in trouble when the first thing you see is Jim Carrey.

With basically a single set and a limited cast, the producers get the most of their limited budget, particular with a couple of spectacular death scenes.

The movie does a great job of capturing the excessive behavior and the fun that was had but it falls short in delivering a realistic picture of lives after the party ends. Christopher, like Rubell, is into giving his audience escape, not reality.

Blade is just good, plain action movie fun. It runs like a smooth roller-coaster and has excellent replay value.

There's nothing but a convoluted overcast of story with a monsoon of bad dialogue.

Although there are a few other flaws in the film (flaws that will not be mentioned since it would give away major plot points) and the lack of character development is a major oversight by the filmmakers, Return to Paradise still manages to grip you until the fateful ending, an ending that is very powerful and must be witnessed to be believed.

Cage and Sinise earn their pay, but the story by De Palma and David Koepp -- which strains for romantic glory of De Palma's "Blow Out" or "Obsession" -- gives away too much too early.

BRILLIANT and WITTY. Those are two words that will not be used to described this film.

Commercial director Sandra Goldbacher's first feature is beautifully filmed and covers interesting thematic ground. Unfortunately, it also suffers from a somewhat incredible and melodramatic story.

Jackson gives an amazing, nuanced performance as he teeters on the edge of paranoia. Spacey gives a great, toned-down show as I guy who's in over his head trying to find out what the hell is going on.

Go see Western because the first 98% is sly, endearing, and clever fun. As for the ending, do what you did for Aliens III and/or IV: just pretend it never happened.

Nothing really works on any level above mediocrity.

The performers all fall effortlessly into their slapstick roles and the troubadour duo -- the film's Greek chorus -- adds a delightfully poetic touch.