Perfectly acceptable, deliriously charming...a goofy Bmovie dolled up like a square-jawed A-list blockbuster.

Think "Basic Instinct" with brains, and you've got it.

Shot in stylish black and white, with a memorably low-key performance from Duchesne, Bob le Flambeur is definitely worth checking out on the big screen in a fresh print.

A charming little film, filled with eccentric characters and ingratiating performances.

The movie is not always satisfying as a standard thriller, nor is it always clear; but it's never dull, either, and it displays a sensibility so weird as to be its own recommendation.

Where "Twin Falls" was slow, brooding and haunting in a manner that fit the subject matter -- the imminent death of one of the principal characters -- Jackpot is just slow and uneventful, like a cross-country Greyhound bus trip that never stops.

Doesn't swing, doesn't score, can't make it to first base, never even drags its sorry ass out of the dugout.

Proves a lovely, sweet alternative for audiences fed up with the latest hell-on-wheels action thriller or the newest horror film comedy spoof.

While 101 Reykjavik has already been compared to "High Fidelity," with which it shares the notion of an emotionally immature male narrating a tale of his own failings, it's probably closer to something like "Spanking the Monkey," which took the Oedipal angle even further.

While Brother may be the perfect introduction for Kitano newcomers, longtime fans may find it superfluous and even a step down from the likes of Hana-Bi (1997) and Sonatine (1993).

Obnoxious, transparent cornball comedy.

Offers an enormous amount of pure silly fun for the entire non-nuclear family, no matter what gender they may be.

Despite the presence of several sublimely cracked actors and some of the most abrasive white-trash caricatures since "Raising Arizona," Birch totally owns this movie.

At its best, Jurassic Park III is eerily similar to some of the more recent dinosaur-themed video games on the market.

If you're a Basquiat fan, or were around in New York back then, you'll want to take a look. If not, this film has little to recommend.

Brando wanders through the movie as if he's tolerating an annoying guest, sweetly charming one minute, detached and obnoxious the next.

Picture the dopes from "Dumb and Dumber" getting mixed up in organized crime -- but without benefit of Jim Carrey's rubberized pratfalls or his go-to-hell anarchism.

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

Like the recent "Baise-moi," Bully is a whole lot of shock and titillation trying to pretend it's saying something. Unlike the French import, however, there's no awareness of its own absurdity, nor anything for the audience to care about in the slightest.

Spectacular entertainment.

If there's any justice in moviedom, this summer's feel-good hit will be an unassuming Dutch comedy called Everybody's Famous!

Will probably please hard-core action fans who have become inured to plot idiocies, but it remains a terrible waste of talent.

It's a bewildering but deeply satisfying paradox, this constant, nearly silent collision in Tran's films of the visible world and the turbulent, unseen world.

The movie is beautiful to look at (lensed by Pierre Gill) as are the girls, but it takes its clunky message so seriously that it often verges on silliness.

The acting is superb across the board, especially from Adebimpe.

At its best, Cats & Dogs plays like a live-action Tex Avery cartoon, down to the exploding ACME dog bone; it's slapstick and slapdash, full of silly and violent nonsense worth a chuckle or two as dogs slam into glass doors and cats play dead on suburban streets.

Most of it is incredibly, gleefully crude and tasteless, but it is also good-natured and harmless, and there's a pretty good chance you'll find yourself laughing.

Any cassette of "Millennium" would serve up better thrills and chills.