The movie's only redeeming qualities are its stars.

What follows is very gruesome indeed, though the footage of people being chased by hideous ghosts soon becomes rather dull.

A very elegant and fit-looking Omar Sharif appears as the on-screen narrator and Kate Maberly ("The Secret Garden") plays his granddaughter in a framing story.

Most experienced filmmakers wouldn't even attempt a film that's so blackly funny, that so rapidly shifts genres and tone, and that layers late '80s cultural references so thickly, from "E.T." to Smurfs.

A silly, boring supernatural thriller that squanders a potentially interesting premise and the rapper Snoop Dogg in his ostensible starring debut.

The film's strong point is its stylish, arty look, carefully chosen composition and shadowy lighting.

It's unfortunate that the people DuBowski profiles tend to be self-indulgent or otherwise unappealing. It's still more unfortunate that the film focuses more on relatively easy issues of acceptance.

Unusual and utterly disarming documentary.

Wants to be a "Last Tango in Paris" for the new millennium, but its flaccid dramatization and hollow moralizing doesn't rise even to the level of last year's "An Affair of Love," let alone Bertolucci's masterpiece.

Obviously a labor of love for all involved, including GOP mayoral candidate Michael Bloomberg, who bankrolled the production and receives full producer credit. He deserves it.

A self-indulgent work.

A stylish look and a fair amount of hot and heavy sex (mostly hetero), and the final shootout is pretty nifty.

Gripping and stylish thriller.

It's an even rarer pleasure to see a film that combines exciting action with a smart, well-informed script and vivid yet restrained performances.

A messy, woefully uneven chick flick.

A breakthrough animated film -- a trippy cross between "Yellow Submarine" and "My Dinner With Andre" that will leave some audience members struggling to stay awake and others reaching for a toke.

Mildly interesting.

You'd be better off renting Demi Moore's "Striptease."

A rather crude affair that feels like a student film, due to performances that often lack conviction and would-be "street" dialogue that rings false.

Moves at a leisurely pace, and it cries out for a narrator or even just an organizing principle.

The performances are so solid - and newcomer Jon Dichter's direction (he also wrote the script) is so utterly assured - that the rather contrived ending barely seems to detract from the film's entertainment value.

While some of this white guy's humor is juvenile and in questionable taste, Hoch, for the most part, is able to pull it off and supply a frequent number of laughs.

Good value for the money, a funny, character-driven action comedy with three disparate stars -- who have great chemistry together.

May well be the first film ever to show people having sex while wearing gas masks.

This is a lazy, careless film that feels strangely unfinished.

No "Crouching Tiger." It lacks the richness of theme and performance that made Ang Lee's film so emotionally satisfying. In fact, watching Iron Monkey makes you realize just how Western and literary the sensibility of "Crouching Tiger" was.

No classic like "The Big Sleep," another famously impossible-to-follow Los Angeles thriller. But for those willing to hang on for dear life, Lynch makes it worth their while.

So unsparingly honest in the way it treats human cruelty and resilience that it makes fashionably bleak films like "In the Company of Men" and even "Boys Don't Cry" seem unforgivably trite or exploitative.