Offers up keys and cakes and plunges its characters down a deep rabbit hole.

Messy, frantic, and repetitive, Everybody Famous! takes on both vapid pop culture and the mindless hoi polloi that consumes it.

Works so hard at being pleasant and ingratiating that it wears out its welcome.

Sentenced its audience to a maudlin death.

Turturro's movie is all surface, all artifice, and little substance. Actors love artifice; the rest of us wait for it to clear so we can find something meatier.

It's a warped kind of romantic comedy in which the whole is substantially less than the sum of the parts.

Makes for compulsive viewing even though its noirish plot doesn't make a lick of sense.

This self-consciously kooky road movie about an unusual trio of bank robbers aims for Hal Ashby misanthropy, but hasn't a single emotionally grounded or plausible moment to justify its purely cinematic eccentricities.

The good news is that they've resurrected a franchise with wonderful potential and may eventually grow bored enough of recapping past triumphs to take it in more daring directions.

But jaw-dropping trailer aside, there isn't much movie here.

Dares to substitute wit and warmth for the standard gay indie tropes in tackling its tale of an unconventional couple.

Strangely, what it most lacks is the genuine tension found in the first "Mission"'s signature set pieces.

The movie is a shambles, a rambling, disjointed love tragedy with a story that amounts to little more than a mess of fade-outs, sloppy montages, and dramatic sketches.

You could do a lot worse than spend two hours in the company of two such talented actresses.

It's a polished, beautifully made movie with a rotten heart.

Nico and Dani merely retells a not uncommon tale without significantly enriching it. It's just too familiar to play as poignantly as it would like to.

The Spy Who Shagged Me is impossible-to-resist summer fun that left me feeling, dare I say, randy for more? Oh, behave.

That's just not enough to recommend it, though it does have one moment of real justice: The person sentenced to jail has truly bad hair.

Never less than riveting.

Hardly a ripping, inspired children's film.

At once arch, derivative, and, in the end, bizarrely lyrical.

A riveting, unsentimental tragedy of unrequited love.

Strictly where the boys are: posing, posturing, and talking engine envy.

An orgy of bad decisions and cheap ideas.

Has one of the most stupendously tasteless premises in cinema history, and much of the time when this movie tries to beckon a smile, the effect is closer to astonished nausea.

Feels repetitive and impacted.

Unsuccessfully attempts to fathom Kaufman's lunatic sensibilities, supplying scant psychological insight into what made the outrageous comic tick.

May not quite be more than the sum of its creepy parts, but as a reality-is-fear launch into workaday darkness, it clearly points toward the horror genre's best destiny.