So off-the-wall that it may well ultimately acquire the cult status of Resnick's earlier Chris Elliot vehicle, "Cabin Boy."

They may not have made another "Back to the Future," but to their credit, the makers of Clockstoppers don't patronize or underestimate their pre-teen audience nearly as much as has become customary.

Acceptably diverting Saturday night at the movies, especially if you're willing to check your brains at the popcorn stand.

Beyond-lame satire.

Koteas and Ribisi, as two very different brothers, give realistic performances, and play off the differences brilliantly.

Much sillier - and the movie's nearly two-hour running time seems to last nearly as long as a vampire's afterlife.

Lee gives his childhood hero altogether too much face time to defend himself against the numerous allegations and charges of assault, both physical and sexual.

Unoriginal but effective raunchy drag comedy.

Strong contender for the weirdest movie released this year.

Has some truly touching and funny moments. But it goes on for too long and bogs down in a surfeit of characters and unnecessary subplots.

At once, a joyful celebration of female friendship and an unusually honest look at newly responsible young women wistfully saying goodbye to the dreams of their youth.

They take a mundane story and give it emotional resonance.

Polarized world views from the mouths of babes -- unfortunately does little to mitigate this depressing image, but much to humanize both sides.

It's so incoherent that at first you wonder if the reels are being shown out of order.

Director Alfonso Cuaron ("A Little Princess") gets vivid, convincing performances from a fine cast, and generally keeps things going at a rapid pace.

Bogdanich's film contends that the bombing of Yugoslavia by NATO in 1999 was the result of blunders by the West, and that the forces supported by the United States in Bosnia and Kosovo are allied with Osama bin Laden.

It's a wretchedly dumb, lazy and incoherent movie that's magically rendered watchable by Eddie Murphy's charm and Robert De Niro's presence.

Suddenly topical because of parallels to the kidnapping and death of Daniel Pearl.

Almost everything about Ice Age proves to be disappointingly generic.

So lovingly and perceptively filmed that you can almost taste the desiccated air.

There is something offensively lazy about the thinness of the Jaglom's movie-industry characters, the simplistic problems they face, and the clumps of clumsy, apparently improvised dialogue they have to deliver.

A baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise.

So tedious it's almost worth watching to see just how bad acting, inadequate direction and most important, a criminally crass and unimaginative screenplay can make so little out of a proven idea.

Director Kevin Bray, whose clichéd style betrays his music-video roots, devotes far too much time to the mechanics of the illogical plot.

It's a shame that the book "We Were Soldiers Once . . . And Young" fell into the hands of writer-director Randall Wallace ("Braveheart"), a filmmaker who wouldn't recognize subtlety and understatement if they were to attack him in the street.

How do you inject life into a film whose central character is dull, slow, stupid and grim?If you're Arnaud Desplechin, you don't.

Somewhere along the way, Borstal Boy became fatally compromised.

So eyeball-gougingly awful that you're tempted to give up movies for Lent.