Enough SpongeBob-meets-Monty-Python silliness to give adults a kick as well.

An astonishing re-creation of the Londonderry massacre of January 1972.

It's frightening enough, to be sure, but too often it feels like a well-executed but rote exercise.

Director Francisco de Lombardi fills his sensual film with plenty of gorgeous shots of the lush landscape and its equally exotic, miniskirted "fauna."

Stevens has a keen sense of the absurd, but the whole thing is too forced - and his use of "rotomation" (last used in Richard Linklater's "Waking Life") to give a Timothy Leary-swirl to key dramatic moments winds up looking incongruous.

The spaniel-eyed Jean Reno ("Ronin") infuses Hubert with a mixture of deadpan cool, wry humor and just the measure of tenderness required to give this comic slugfest some heart.

The script is so overstuffed with painfully obvious clues (the constant patina of sweat on the cocky doctor's face, for one) that we don't need the ominous rumbles on the soundtrack to tell us where we're headed.

Has a desolate air, but Eyre, a Native American raised by white parents, manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor.

Suffers from an air of frosty detachment and a disappointingly stiff performance from Jagger, who also provides an unnecessary voice-over narration.

The documentary is much too conventional -- lots of boring talking heads, etc. -- to do the subject matter justice.

The material in this spy spoof is, pardon the pun, awfully frayed.

This time out, Broomfield comes up with maybe enough halfway decent material for a 10-minute segment on a second-rate tabloid TV show.

It's only when you're leaving the theater that her spell wears off and you realize just how bad the movie, directed by Andy Tennant, really is.

Quirkily likable comedy-drama about a family trying to coping with loss, contains three of the best performances you're likely to see in an American movie this year.

This brisk, British-American co-production is one of the better political/historical documentaries to come out in some time.

The story doesn't break any new ground, but the movie has energy.

A tightly drawn, propulsive thriller with some pleasingly unexpected kinks in the tale and a couple of believable performances from Charlize Theron and Kevin Bacon in the leads.

Director Ferzan Ozpetek's film doesn't break any new ground; rather, it recycles every cliché about gays in what is essentially an extended soap opera.

For the most part, it's both sitcomishly predictable and cloying in its attempts to be poignant.

Splendidly spectacular, intelligent and very well-acted.

In execution, this clever idea is far less funny than the original, "Killers From Space," which was directed by W. Lee Wilder, the vastly less talented brother of the great Billy.

Against all odds, director Steven Shainberg has managed to craft an oddly compassionate -- and often very funny -- tale of an emotionally symbiotic affair.

It's depressing to see how far Herzog has fallen.

Amply demonstrates how even a movie with wall-to-wall action can be a crashing bore.

The result is inept, tedious kitsch that even at its best feels like John Waters minus the joie de vivre.

A Japanese cross between "Alice in Wonderland" and "The Wizard of Oz" -- is such a landmark in animation that labeling it a masterpiece almost seems inadequate.

Enough to give you brain strain -- and the pay-off is negligible.

One of those all-too-rare cases in which a riveting premise is expertly executed.