Remember how "Double Indemnity" featured smart criminals and a smarter investigator? The indie film If I Didn't Care, with its dumb criminals and dumb cops, is a sort of "Double Stupidity."

The bite and bark of Underdog are both pretty awful, but little kids might take this pooch for a walk.

Ruscio's script is grim and darkly funny, but the big attraction is Wright's right-on performance. She's an actress waiting to be discovered.

Sony dumped this sleazy, inept and worthless piece of torture porn into theaters yesterday.

The Great Playwrights for Dummies series that began with "Shakespeare in Love" continues with Molière, a French clone of that grating and smarmy Best Picture winner.

Some documentaries are a fervent search for truth; others are a fervent search for snickers. This one is the latter, providing via interviews and old film clips a Greatest Hits for Bush haters.

A soufflé of a romantic and family comedy that stubbornly refuses to rise.

Though it does have a handful of dirty jokes meant to earn the audience-pleasing PG-13 rating and features Marge swearing, it falls short of classic status.

The 34-year-old Meadows has assembled an effective cast, especially newcomer Thomas Turgoose as Shaun and veteran Stephen Graham as Combo.

The script, narrated by Queen Latifah, is so embarrassingly dorky (it was co-written by Kristin Gore) that it's like Fred Rogers gone hip-hop.

Imagine "Clerks" director Kevin Smith with a background in poetry and painting instead of comic books and bestiality jokes, and you'll have an idea of what to expect from an exciting new filmmaker named Sean Ellis, whose terrific debut is called Cashback.

The Spanish Inquisition was better summed up in an eight-minute musical number by Mel Brooks than in the entirety of Goya's Ghosts, an across-the-board disaster from one of my favorite directors, Milos Forman.

The best and most entertaining movie adaptation of a stage musical so far this century - and yes, I’m including the Oscar-winning "Chicago."

The movie isn't insulting to homosexuals but to comedy.

So what starts out as fascinating sci-fi becomes just fi, and winds up pulp fi.

Low-key yet has a lot to say about class struggle.

Captivity is torture porn without the sex. Cuthbert squirms, screams, weeps and pleads for her life with great conviction. Slick, sick sleaze.

Proves, if anything, that sappy feel-good movies aren't restricted to Hollywood.

Some bits are too stagy, but for the most part this long night feels like an interview that could have actually happened. Miller is so good - dumb, smart, wounded, wounding, a lollipop of sweet poison that you'd buy every day until it killed you - that you feel you not only understand her but all actresses.

Formulaic but entertaining, My Best Friend climaxes with a lengthy, surprisingly heartfelt sequence set on the French version of "Who Wants To Be a Millionaire."

As much as we like Alec as an actor, it's hard to imagine that any amount of editing and reshooting under his supervision could salvage his complete ineptitude as a director.

Don Cheadle has a fine time jiving through Talk to Me - accent, please, on the middle word. It's a black "Good Morning, Vietnam."

A wonder to look at, even as its increasingly pretentious manga-inspired story line outstays its welcome.

Viewers in Gotham will be perplexed, frightened, disgusted - and, mostly, entertained.

You want to hate his characters? Go ahead. You want to feel sympathy for them? That's OK too. In either case, you'll be shaken by Drama/Mex.

There are lots of special effects, but sadly, no real magic.

Isn't perfect, but it's light years ahead of "Ong-Bak."

Joshua falls a bit flat at the end, but overall it delivers some genuine old-school chills - something that was missing when Macaulay Culkin played a similar role in "The Good Son."