All the ladies get repeatedly naked, which, after all, is why you're going to go see it. And there's nothing wrong with that.

It makes as good a case as any for the use of animation as a medium for serious, mature features.

There's nothing particularly wrong with this whole setup; it's just very by-the-numbers.

The film is often moving and explores the discomfort inherent in the contacts between the American "hosts" and their "guests," but its effect is diluted by slow pacing and lengthiness.

At best, second-rate pulp, hampered by excessive length, a thematically meandering screenplay, and a general lack of excitement.

Another disposable kidnapping thriller.

The film desperately wants to play like "Three Kings," a war film with a guilty conscience, but it's too pat and familiar to earn its high-minded stripes.

Film falls into the same trap as the book: a moderately interesting setup ultimately undone by an ending that makes the audience feel like fools for investing any sympathy with the characters.

There is more anxiety than loving humor in the proceedings, and a noticeable lack of charm.

Despite the generally likable characters and the abundance of clever ideas, Lustig mucks it all up with her "trick" editing.

Sad to say, the story is simply too slight to sustain the film.

All in all, this is every inch a TV movie.

It isn't until Joe starts getting confident and cocky that Allen starts to feel a little more natural in the role, and by then the movie's plot has all but evaporated into a series of wispy gags that barely register.

On the up side, there are some genuinely funny jokes, and Oedekerk has been wise enough to keep the running time down to 82 minutes, including the eight-minute closing credit sequence (which is worth staying through its entirety). But Kung Pow! is no "What's Up, Tiger Lily?"

The muddiness of the basic concept and the thinness of its execution eventually defeat even Witherspoon's talents.

Fact is, there is nothing feloniously awful about the whole thing, but the laughs are tepid and too infrequent.

The redeeming features of All Over the Guy are the consistently engaging performances and some genuinely funny dialogue.

Few things are quite as frustrating as a film that chooses a highly controversial subject then proceeds to give it the kid-glove treatment. That's the case with writer-director James Bolton's well-made, if excruciatingly slow-paced, drama.

Little more than direct-to-vid nonsense offered by Disney at dollars on the penny to parents looking to waste time and money keeping kids occupied away from the TV screen.

Shrek isn't clever or smart. It just wants you to think it is, through wink after wink after wink.

It's a crude, visually ugly, and peculiarly over-plotted movie, but the blunt, pungent, physical shtick is often pretty funny.

Stallone's script is well structured, though the jaw-droppingly banal dialogue gives us little reason to care.

Loses significant points for its lazy story and complacent delivery.

Thankfully, the final, long action set piece, which owes a debt to "The Manchurian Candidate" among others, is free of such problems. Shiri manages to go out on its most exciting sequence. There are worse ways to go.

If only good intentions were enough to redeem a picture, perhaps ABCD would be worth a look.

Has an awkwardness that defeats whatever emotional involvement it tries to achieve.

Too bad it isn't quite funny enough to be mistaken for "Jackass."

Isn't quite as offensive as it sounds, nor is it in any way rousing; Spacey and Bridges are watchable, but nothing more.