Bereft of inspiration, the agonizingly witless screenplay - blamed by the credits on George Gallo - resorts to pathetic cheap jokes about flatulence and impotence, lame slapstick and that juvenile gag about the horror of two men waking up naked in the same bed.

This satisfying adaptation of a popular novel is mostly an artistic reflection on youthful loss of innocence.

Lethargically paced, badly edited and shot in hideous digital video.

At turns sexy, ultra-violent and sweet, it will infiltrate your brain long after you've seen it.

Surprisingly enjoyable, as adaptations of cult comic books go, thanks to a sense of humor all too rare in the genre, winning performances by Ron Perlman and Selma Blair, and a sweet romance of the kind that made "Spider-Man" a richer experience than its competitors.

So udderly mediocre.

May not set back Danish-American relations, but it's amusing to imagine how this schlock would have turned out under Denmark's most famous director, the American-hating Lars von Trier.

Exciting stuff in its primitive, predictable way.

Not only is Adored amateurish and mawkish even by the standards of American "gaysploitation" cinema, it's weirdly shy about showing nudity and sex.

The real star, however, is Michael Simmonds, whose manic black-and-white camerawork captures the unique vibrancy of New York City. He helps turn one woman's obsession into a valentine to Gotham.

The Outskirts, handsomely directed by Petr Lutsik, will grab people's emotions. The dark and bitter comedy deals with a corrupt, post-communist Russia.

Gives a harrowingly accurate portrait of the indignities sometimes suffered by hospitalized patients - and the sacrifices their families make.

In the end, inner peace is found by all - on screen and in the audience.

This bomb, which premiered at last year's Sundance Film Festival, belongs in the same remainder bin as Spacey's "Pay It Forward," "K-Pax" and "The Life of David Gale."

Startlingly immature.

Hanks is terrific giving his first flat-out comic performance in years as a wildly eccentric criminal mastermind.

A stunning display of a filmmaker adventuring on the far side of what's possible.

What dooms Never Die Alone even as amoral pulp entertainment is the screenplay by neophyte James Gibson, which combines clichéd characters and a contrived plot with stale dialogue.

Documents the life of Rodney Bingenheimer, a teenage outcast who parlayed a youthful stint as double for Davy Jones of the Monkees into a 40-year run as a real-life Forrest Gump.

A leaden retelling of the legend of Australia's Jesse James that has understandably been sitting on the shelf for a couple of years.

Raja, which is basically a dark comedy about how this odd couple manipulate each other, is extremely well acted, though the direction by Jacques Doillon is on the leisurely side.

Best advice: Wait for Two Men Went to War to go to the small screen.

Little more than 91 minutes of cheesy special effects in search of a remotely coherent story.

Audacious, thought-provoking and ruefully funny.

Smarter than your average serial-killer movie, thanks to unusually fleshed-out characters inhabited by a high- pedigree cast.

It's mindless entertainment, so take it or leave it.

Frey's harrowing depiction of this milieu transcends the indifferent acting and contrived plot.

"Love, Actually" meets "Trainspotting" in Intermission, an edgy Irish romantic comedy that deftly juggles a dozen interconnected story lines.