I wouldn't have thought it was possible to make a prison picture as utterly boring as Jailbait.

The autobiographical script meanders and the acting never solidifies. Besides, the leads look too old to be in high school - maybe even college.

Miami Vice isn't an action flick but a neo-noir: tough, quiet, moody and hard.

A marginally funny comedy at best, recycles themes, scenes and even lines from Allen's own old movies - like many of Allen's later efforts.

A slumber-party classic that belongs on the same shelf as "Bring It On" and "10 Things I Hate About You." This high-school comedy should do for its 20-year-old star, Brittany Snow, what those movies did for Kirsten Dunst and Julia Stiles.

This generic exercise in computer-generated animation may provide passable entertainment for very young children, but adults will be less than enchanted by its preachiness, talkiness and Communist Party-line political views.

Starts slowly but builds, Hitchcock-style, to a terrifying crescendo. And don't fool yourself into thinking you know what's going to happen.

A fabulous and often hilarious variation on "American Pie" that substitutes quiche, gerbils and various sex toys for apple pie.

"This Is Spinal Tap" took the mockumentary up to 11. Brothers of the Head brings it back down to about four.

Using a hand-held microphone, Mahurin captures the burly, middle-age, salty-tongued cook philosophizing nonstop as he individually prepares mouth-watering high-cholesterol meals from a 900-item menu over a stove he has put together himself.

A smart, dark road comedy.

When it comes to magnetism, the Rolling Stones have nothing on Amma, the Indian mahatma ("spiritual guide") chronicled in Jan Kounen's handsomely photographed but one-sided documentary.

The film is generic and uninspired, better suited to public TV than the big screen.

A couple of years ago, a disaster like Shadow boxer - with the hapless Cuba Gooding Jr. scraping below the bottom of the barrel - would have gone straight to video or been buried on an obscure cable channel at 3 a.m.

Kevin Smith's Clerks II doesn't take much notice of anything that's happened since the 1994 original. It's occasionally clever and gets a few points for originality.

A charmless, unscary, fatuous and largely incoherent fairy tale.

The house itself - which walks down the street in one impressive scene - is memorably voiced by Kathleen Turner.

Uma Thurman plays a flying hero who might as well be called Not Funny Woman.

The story is superficial at best. And the movie is too long.

There's a lot happening here, perhaps too much. At times, the movie threatens to implode under its own weight. At others, it's wickedly funny.

Sexual and toilet humor plumb new depths in Keenen Ivory Wayans' Little Man, which will stink up theaters like several gross of dirty diapers.

Uncompromisingly mediocre comedy.

It's always enjoyable watching Depardieu and Deneuve, but they deserve better material than they've been given by Techine.

Comes about five films after writer-director-star Ed Burns should have found another career.

Aa saucy as a belly piercing, Mini's First Time is a black comedy that puts the soul of "Heathers" in Lolita's bikini.

Despite this seemingly surefire premise and cast of veteran comedians - there's even a cameo by Liza Minnelli as a masturbation coach - The OH in Ohio just lies there, without a single laugh.

Time to Leave just might be Ozon's best work yet. He tackles a sensitive, off-putting subject with a dignity that will put viewers at ease. Poupaud connects as the dying man and Moreau is - Moreau, a French national treasure.

It may be too bleak for most.