A collection of product plugs masquerading as a movie en route to home video.

More than the story of a disillusioned old man, Lustre is a loving tribute to New York.

While type-A Pierson worries about his projectionist showing up and a break-in at his family's home, his wife frets that the mass importation of American films will contaminate the local culture.

Expect a sequel -- perhaps one with a more satisfying conclusion.

Strictly summer schlock.

A vile and laughless follow-up to Schneider's 1999 hit.

Four Brothers? Ringling Brothers is more like it, because John Singleton's latest stinks like something the elephants left behind. It's not clear what the film is trying to do, but it seems safe to guess that it's doing it wrong.

I hereby award the World War II drama The Great Raid a Cement Star for faithful and distinguished service to the cause of mediocrity.

McKellen, Csokas, Bonneville and particularly Richardson are so good and convincing in their characterizations that you can almost overlook the increasingly unbelievable twists that Asylum takes. Almost.

Seeing what Hitler's propaganda minister saw, hearing only his diary entries and what he heard, we effectively live inside the monster's head.

Herzog tries to make sense out of the blond-haired young man, who looked an awful lot like Kinski.

So exploitative and misogynistic that its last-minute dramatic turns and pleas for tolerance and understanding come off as manipulative as its heroine.

Pleasantly free of blood and guts, with Kurosawa using instead the mighty power of suggestion to give Pulse an invigorating aura of menace.

Cheung and Nick Nolte seem unlikely co-stars, but co-star they do in Clean, giving gritty performances under the direction of Frenchman Olivier Assayas.

Has two especially memorable sequences: the eye-popping Mass Games and a visit by a group of schoolgirls to incredibly beautiful Mount Paekdu, which is revered by Koreans on both sides of the DMZ.

A lot of its jokes sputter and it doesn't contain even a hint of a chick movie, but The Dukes of Hazzard has some of the same fratty energy as "Wedding Crashers."

Audiences will laugh, mainly to prove they're awake, but the humor is pretty thin.

2046 is a bit overlong and not for all tastes, but fans of "In the Mood for Love" will relish this second helping, which is more emotionally substantial than the first.

Herzlinger is a flack, not a filmmaker.

All of this is punctuated with refreshingly strange wit.

There's nary a dull moment in the semi-autobiographical Secuestro Express (secuestro means kidnap), as Jakubowicz pleases the eyes with closeups, sped-up scenes, hand-held camerawork and other stylized tricks.

A pleasing fable reminiscent of G-rated nature movies of the '60s and '70s, before kiddie cinema required CGI or hip cultural references.

Sensitive and sincere and has a talented ensemble cast.

A labor of love, Young Rebels is essential viewing for anyone who wants to stay ahead of the hip-hop curve.

The documentary tries to pin Africa's suffering on capitalism, but dances around the real problem. Africa starves because corrupt governments own the natural resources and export them to buy weapons to keep their people at bay.

This movie is never more than a one-liner away from sitcom, yet it goes down like ice cream.

Here's a tagline for Disney's Sky High: "Like Harry Potter, only stupider!"

The scene where a pilot bails out in Stealth is so over-painted with CGI that it doesn't look as real as the sequence starring Shepard that inspired it in "The Right Stuff," a movie made with model airplanes.