What's cutting- edge comedy for one generation can become generic filler for the next - that's the lesson to be learned from The In-Laws, a strenuous attempt to recycle a vastly funnier minor classic.

The actors don't seem to have been directed at all, and the movie is very sluggishly paced.

Has a sexy cast and is gorgeous to watch -- but it takes more than that to make a movie worth seeking out.

It's hard to go wrong with documentary subjects as articulate and intriguing as childhood friends John Flansburgh and John Linnell.

One of Miike's most violent and sadistic movies, filled with squirting blood, throat-slashing, limb-hacking and other forms of mutilation too gruesome to describe here.

An exploration of the way the sins of the father trickle down to his offspring, is dense with quirky characters and subplots all woven into a rather heavy-handed meditation on the evils of globalization.

Not for all tastes, but it demonstrates Loach's skill as a poet of gritty semi-documentary filmmaking.

It would be easy to mock or patronize them. Cinemania does neither. They seem quite satisfied with their lives, which is more than can be said for a lot of people with more conventional lifestyles.

Crudely animated, badly dubbed, incomprehensible, boring -- and headache-inducing -- attempt to wring a few more yen and dollars out of a thoroughly spent franchise.

It's a touching story that deserves to be told. Unfortunately, Slesin's presentation is conventional and uninspired (lots of boring talking heads). These heroes deserve better.

At times, writer-director Cedric Klapsich seems to be trying to copy the frestyle of "Amelie," but L'Auberge achieves only a fraction of its charm.

The dazzling 14-minute chase includes cars, motorcycles, a couple of 18-wheelers - and nonstop martial-arts battles and leaps inside and on top of the vehicles. That scene alone will justify the price of admission for many.

It's a highly erotic work that at no point seems staged. Credit brilliant use of fog, mirrors, silhouettes, slow motion and special effects worthy of a music video.

The plot of Attitude isn't exactly original and won't have you sitting on the edge of your seat. But Nilsson knows how to create a noirish mood, and some of the camera work is interesting, if pretentious.

Only really little tykes will find the surplus of pratfalls and poo and fart jokes a hoot.

Despite an empowered female protagonist, manages in its own way to be as misogynous as "In the Company of Men."

De Villa has created a truthful representation of a colorful community.

Captures some remarkably vivid present-day performances by the aging performers.

The problem lies with the paucity of sizzle between the romantic leads, Renée Zellweger and Ewan McGregor. They just don't look like they're having any fun together, particularly the bony Zellweger, who has trouble filling out the wow-worthy ensembles and perpetually looks like she's sucking on a lemon.

Much of the action is strident and cartoonish -- but the romance at the core remains tender and true.

A thinking man's buddy movie.

It's a hushed work of restrained emotions, elliptical storytelling and spare dialogue, peopled with smart, authentic characters who have drawn you into their lives before you know it.

It's mostly a political thriller, contingent on a love story. It's kind of noirish, subtly humorous and intermittently confusing.

The tiny stage can barely contain Reno's gale-force personality, as she paces and rants a stream-of-conscious monologue.

Hurt, who starred in Kwietniowski's earlier study in compulsion, "Life and Death on Long Island," is oily perfection as the devious Victor.

Toothless, unbelievable and not particularly funny, New Suit is no threat to "The Player," "Swimming With Sharks" or "The Big Picture," to name but three more interesting pictures in this inside-baseball genre.

As irresistible as movie-theater popcorn - a lavish, reasonably intelligent, well-acted sequel with kick-butt effects that outdoes its predecessor, 2000's "X-Men," in almost every department.

Lizzie McGuire's "Movie" doesn't try to be anything more than a superficial escapist fantasy for fans of the show.