Sexist, racist humor abounds, with Jews and gays especially taking a beating. I don't always object to non-PC humor -- but I like it to be funny, and here it isn't.

A mind-numbing piece of would-be provocation from the button-pushing Harmony Korine, Trash Humpers gets no stars from me -- not because it's offensive and disgusting like his earlier "Gummo" and "Julien Donkey-Boy," but because it's about as enervating a way to waste 78 minutes as I've ever experienced.

Though Freddy is basically the same guy as in the 1984 original, his back story is different. For a few minutes the movie threatens to become interesting -- then retreats.

Excruciatingly unfunny.

The movie begins to wear out its welcome even before a conclusion of breathtaking corniness.

Unlike "Dirty Harry," this film doesn't particularly have an overt political ax to grind. But it thankfully strips away the veneer of glamour that Guy Ritchie and his imitators have applied to British crime films over the last decade or so.

Despite risible dialogue, Mercy is watchable because of Caan's physical presence -- and a couple of scenes with his real-life father, James Caan, as his cynical dad who pronounces that "love -- it does not exist."

Two possible ways of regarding Please Give: It's shallow. Or maybe it's deeply shallow.

Dieter Laser is grand as the doc, a character Christopher Walken would be comfortable doing, and Akihiro Kitamura provides laughs as the first part of the centipede.

This movie -- G.I. Joke, The D-Team -- tries to do so little, and yet falls so short. A clue comes when the girl asks Clay, "How's your steak?" and he replies, "Meaty." Simple enough to achieve in theory, but this would-be treat for cinematic carnivores is a sawdust sandwich.

Lopez, appearing in her first rom-com since “Monster-in-Law” five years ago, is still a likable screen presence who throws herself into the movie’s slapstick sequences with unwarranted enthusiasm.

The Good, the Bad, the Weird may owe a lot to other films, but it is always fresh and never boring.

Never rises much above yawn-worthy.

Far from perfect, but it holds your interest as a character study because of strong performances by Daniels and Stone.

The main attraction is little-seen archival footage going back 50 years, including scenes from the 1960s "Parades and Changes," with artful nudity that was praised in Europe but brought threats of arrest in New York.

The movie could -- should -- be a symphony, and it frequently makes excellent use of spare classical music. When Brosnan pipes up, he is as welcome as a car alarm.

A brutally funny deconstruction, a hybrid of “Watchmen” and “Superbad” filtered through John Woo. It’s a boisterously original piece of entertainment . . . that isn’t for everyone. Note the rating, which should be triple-R, as in Really, Remarkably R.

Few documentaries have covered such an important matter so convincingly and with such clarity. When it comes to public education, we are all New Jerseyans.

This long and overly genteel adaptation of Peter Cameron's 2002 novel never quite comes to a boil.

It's because of a superior cast that this version of "Death at a Funeral" is the rare comedy remake that's funnier than the original, however slightly. Personally, though, I'm not sure it was worth the effort.

It's mainly about a supremely annoying French-born LA clothier who became a hugely successful artist without pausing to consider his utter lack of originality or talent.

The story quietly builds to a rueful and fraught climax in which Campbell Scott does his usual exceptional work

Slick as a pig and reeking of phony sympathy for recession-wracked consumers, The Joneses is a black comedy about stealth marketing made by a filmmaker who's evidently much too close to the subject to bite the hand that feeds him.

The subject may be serious, but Ghobadi's approach is mostly light and humorous, at least until the final scenes. Hamed Behdad is especially funny as a streetwise promoter who fast-talks his way out of jail and 80 lashes.

The film's flaws probably won't bother less jaded kids one whit.

A nearly perfect love story/murder mystery that unfortunately falters at the end.

The film tastefully handles the sensitive subject, but it lacks the bite that a Michael Moore would have provided.

The well-acted, pleasantly lensed drama doesn't recall Hollywood's generic approach to fragile couples, and that's just fine with me.