A raunchy, scattershot, but often hilarious spoof.

Oy, it's such a pleasure that you'll be begging for Rush Hour 3.

Shot on location, handheld camera, available light, no props, no music, no filters, etc. We may wonder, "What are we doing here?" But we won't look away.

A shell of a film. It's a stripped-down and blown-out thriller than can only be measured by the sum of its action sequences.

Hits the wall and runs off the rails. They should've stuck to shtick.

Fans starving for some song and dance celluloid may be satiated, but this movie version really shows the material's age.

Isn't terribly revealing, and though it is interesting to watch Condo paint, it's only interesting for so long.

What matters is that the movie's a blast, right up until its protracted climax.

The actors playing the team members have stereotypical roles, but these kids have got game.

As classic romantic comedy goes, it ain't no "Tootsie."

Sags, lollygags, and blusters too much to sustain the what-the-hell momentum that Kitano achieves in his best movies.

Dippy, funny, and fast-paced enough to be a guilty pleasure.

This predictable romantic comedy outing has occasional flickers of ingenuity.

It's so plot heavy it never finds its nimble comic rhythm.

An elegant, haunting folktale.

A witty, if overextended, take on pornography.

Folks who are desperate to ogle Hewitt and Weaver probably can't be warned off this turkey.

Without full-bodied characters to play, Smith and Damon are left to get by on their native charm -- something both have in considerable quantity, thankfully.

An audacious but underconceived blend of fiction and documentary that questions the idea of race and identity in America.

A matted hairball of a kiddie flick that's alternately maudlin and slapstickishly violent.

Though modest in scale, this romantic gem constitutes yet another superb leap in the evolution of Figgis' career.

This one's all labor pains, and, in the end, nothing gets delivered.

A reliably solid treat.

As its plot is entirely negligible, whether or not you enjoy One Night at McCool's probably depends on how funny you think the performances are.

Populated with whiny, unappealing characters that are impossible to care about and flatly staged sitcomish set-pieces...this lame Canadian import's a real woofer.

While both leads are appealing enough, it's the stuff on the sidelines that keeps All Over the Guy entertaining.

An empty reminder that Martin Lawrence can be pretty funny, in a spastic, loose-limbed way -- maybe next time he'll get a worthwhile script.

Watching this movie go through its simplistic dramatic motions, you begin to understand why some actors stick to summer stock and live Ibsen revivals.