Man's inhumanity to man is gruesomely detailed in S21: The Khmer Rouge Killing Machine.

Not entirely bereft of chuckles, though it misses one comic opportunity after another (the best jokes are in the trailer).

What really wrecks Wolfgang Petersen's Troy is some of the worst casting in recent Hollywood history: The lackluster ensemble hired by the director is overwhelmed by the generally impressive sets and crowd scenes, by the task of playing epic heroes and by David Benioff's rambling, tone-deaf screenplay "inspired by Homer's 'Iliad.'"

Boasts one of the most ludicrous plots ever committed to digital video.

Carandiru, which ends with actual footage of the prison being demolished in 2002, marks a terrific comeback for Babenco - it's the roughest picture of life behind bars since "Midnight Express."

Indie hipster Jarmusch's distinctive brand of effortless cool and quirky humor percolate through each of 11 vignettes, all shot fairly statically in crisp, aesthetically pleasing black and white.

Approach is too heavy-handed to have much effect. Rod Serling probably could have turned the premise into an enjoyable episode of "The Twilight Zone."

Kalem's grasp of dramatic storytelling is no firmer, and the disorderly film merely chases its tail for the second half, going nowhere fast.

Can be summed up in one word: style.

The result is, alas, competent but unexceptional.

Something high schoolers might yawn through in history class, but they have no choice. You do.

Sweet, often poignant little film.

In trying to straddle both the grown-up and kiddie worlds with this inappropriately sexualized effort - their first theatrical release since 1995's "It Takes Two" - the Olsens have lost their footing.

There is fun to be had at Van Helsing, but it requires considerable suspension of disbelief at the apparently deliberately ridiculous plot necessary to bring the three monsters together.

Offers an idyllic, comforting surface of tree-shaded lanes and sunshine-dappled fields - but a disturbing tale throbs beneath.

You'll have to look long and hard to find a performance as emotionally raw as that of Moon So-ri in the startling South Korean love story Oasis.

What is astonishing is that husband-and-wife writers Wally Wolodarsky (who also directed) and Maya Forbes, with combined credits that include "The Simpsons" and "The Larry Sanders Show," could churn out something this nasty and ludicrous.

More popular today than during his lifetime (his music even made it into a Volkswagen commercial), Drake once complained, "Everybody tells me I'm great, but I'm broke. Why?"

An amusing McGimmick.

There are a few chuckles here and there, and there are odd wisps of cleverness in the script by Steve Adams, but for the most part, Envy is a film that doesn't know where it's going.

There's no excuse for a thriller as lame, leaden and unthrilling as Godsend, which manages to take a potentially interesting subject - human cloning - and use it to put audiences to sleep.

What the filmmakers do to the splendid Moore is simply criminal.

Basically a watered-down collage of scenes from "Heathers," "Clueless," "Sixteen Candles" and numerous other teen flicks.

A sluggish meander through the life of the man considered by many to be a deity of golfing.

The best actress currently on New York screens is Esther Gorintin, a 90-year-old Pole who provides the emotional center for Julie Bertucelli's delicate, bittersweet comedy-drama, Since Otar Left, which is set in Paris and Tbilisi.

The gay sex scenes that punctuate Eloy de la Iglesia's limp Spanish comedy, Bulgarian Lovers, are frequent and graphic, and it often seems as if the lackluster story exists solely to showcase them.

The intolerance and inflexibility that marked the Taliban's brutal rule takes a solid hit in this lovely import from Bangladesh.

Cadigan is honest enough to leave in a disturbing scene in which he talks about the "violent imagery" in his head and fantasizes about using a kitchen knife on his mother, before breaking down in tears. It's raw stuff.