Some fine performances shine through in Joe Maggio's pretentious, credulity-straining dramedy.

An impressive experimental movie, is practically a one-man show by Yasuaki Nakajima.

An unrelenting assault on the brain and eardrums.

24-karat stuff, even if it has a soul of tin. With the voices of Ewan McGregor, Robin Williams and Mel Brooks, Robots is a giddy erector-set update of "Toy Story" with a splash of "The Wizard of Oz."

Binder has allowed Allen, a brilliant actress, to go overboard with Terry's obnoxiousness, just as Brooks (his apparent role model) did with Téa Leoni in "Spanglish."

Give Boyce and Boyle credit for daring to be strange, but this enchilada is so overstuffed, it's falling apart.

Sobering and important.

A remarkably smart and weird film, even if it's sad and sometimes difficult to watch, with jokes designed to make you cringe.

Isn't a total loss, but neither does it have the charm of "The Full Monty" or other feel-good indie Brit flicks it emulates.

The script is morose and unfocused - not to mention hard to believe and insulting to women.

The less you know going in, the more you'll enjoy it. Suffice it to say that it's a hugely entertaining thriller disguised as a chick flick.

The dreadful acting, direction and script make Nowhere Man a nowhere movie.

A beautifully acted if fairly poky coming-of-age story.

An admirably realistic portrait of police life.

A fairly painless, if not particularly stimulating, experience, Gray has no idea how to capitalize on the reunion of "Pulp Fiction" co-stars Travolta and Thurman.

The characters are so flat and the dialogue so dull you expect it to be one of those movies whose existence is justified by a big final twist. But it's three days after the screening, and still no twist. Maybe it's coming in the mail?

If the once red-hot Vin Diesel's overhyped career wasn't finished off by last summer's mega flop "The Chronicles of Riddick," the alleged family comedy The Pacifier ought to do the trick.

The film is soft and sticky, but it deserves a (small) audience. If you're in that peculiar kind of blue mood where you'd like to be just a bit bluer, Dear Frankie might be the right choice.

Engaging, if sometimes obvious.

At its best, the film just sits back and lets the weird times roll.

Has no profound statements to make, but it does provide warm and fuzzy comfort.

Fox can't decide if Walk on Water is a terrorist thriller or a gay buddy story, and neither can the viewer.

All the pieces converge in a powerful rush during the second half.

There's a story here, but the film doesn't tell it.

Chilling documentary.

Unlike Cursed, which resorts to blatant but unconvincing gore and violence, "The Wolf Man" (1941) gets its point across through suggestion, makeup and spooky sets.

Plays like an unwieldy mishmash of "Big Momma's House," "An Unmarried Woman" and "The Burning Bed," with lots of gospel music thrown in.

Mindless, vapid fare... Watching the movie, you'll feel really dirty.