It manages to be both kinetic and dream-like at the same time -- "Run Lola Run" by way of David Lynch.

If it weren't for the estrogen-fueled action scenes -- choreographed by director Cory Yuen with wit and style -- So Close would be as disposable as the shampoo ad it all too often resembles.

Heartbreaking.

Only marginally interesting.

The majority of Dickie Roberts winds up looking like a tame episode of the "Brady Bunch" -- spiked with Spade-esque crudity.

The screenplay is packed with so many hilariously bad lines (it's hard to believe that writer-director Helgeland won an Oscar for co-writing "L.A. Confidential") that the movie would be perfect material for a resurrected version of the TV spoof "Mystery Science Theater."

Ryan's heart is definitely in the right place and his film has good performances and flashes of talent. But, overall, it plays like the world's longest — over two hours -- after-school special.

Devotes most of its energy to its costumes and makeup, which are fabulous. But that and a tabloid-worthy star just aren't enough to revisit this sordid tale as a kind of twisted comedy.

A compelling look at a vexa tious question, Taking Sides is, at times, hamstrung by its own ambiguity.

Essentially an hour-long monologue, but this talking head is so engaging that you can't blame director Lech Kowalski's camera for not wanting to stray from the late Dee Dee Ramone's party-ravaged face.

There are a few good jolts - and a moderate amount of spurting blood - but things pretty much proceed exactly as you think they will.

The cast includes rappers Da Brat, Mos Def and MC Lyte. Their fans might get some pleasure from Civil Brand. Everybody else best stay away.

Just Brit filmmaker Shane Meadows having some fun with the conventions of the spaghetti western.

The Backyard will affect you. If you were depressed about the future of America before, you'll be doubly depressed after seeing this film. Pass the Prozac.

Funny and frothy sex comedy from Spain with a very appealing cast -- and mediocre musical numbers.

Doesn't always succeed -- the premise is hard to believe. Still, it's an unusual and interesting piece of filmmaking.

The result is a charming mix of Walter Mitty and "About Schmidt."

Dog Days has much in common with "Code Unknown" -- both dart among several characters who may occasionally cross paths.

What starts as a fairly lighthearted satire ends in a tiresome, ultra-violent shootout -- and the film pretty much throws away the possibilities of Cruz's gender-bending role.

Lurches so wildly and meaninglessly between genres and time frames that all it creates is motion sickness.

Earnest but not terribly original.

This black comedy is a small gem.

It's not uninteresting, but so much footage is given over to earnest discussion of sexual politics that the overall effect is like sitting through a semester's worth of transgender studies.

Directors Potelle and Rankin lack the skill to integrate the sometimes drastic shifts between comedy and drama - and the serious portions ultimately get short shrift, apparently at the behest of Miramax's marketing executives.

Paints a picture of a young man enamored of his own image. His enormous success turned the ever-cocky Gator egomaniacal -- and abusive.

The lamest in the recent run of comedies about uptight white people getting jiggy with it, would also be the most offensive -- if it weren't also the dullest.

Given the complete lack of chemistry between Chan and Forlani, their rather awkward lip-lock isn't worth $10 to see. Sadly, neither is anything else here.

Brain-dead variant of "Risky Business."