The dreary, direct-to-video quality of the script, acting and cinematography in this latest entry seemed to inspire more yawns than screams, and not a few titters.

The "Prinze" of terrible movies is back - in what might charitably be called "Rear Window" for morons.

It's perfectly entertaining (and well-executed) in its cute, undemanding way.

Should have gone straight to video. It'll be there soon enough.

The sort of heart-tugger a small group of people will love passionately.

Simply not up to the task.

A pointless, wincingly snide exercise.

Not a film for all tastes, but it's a considerable artistic achievement.

A soggy cannoli of a domestic dramedy.

A well-researched picture of how racism led to nine men being falsely accused and wrongly convicted. One only wishes that the filmmakers had more than 84 minutes in which to tell the story.

Although the jokes aren't as consistently funny as those in "Lock, Stock," once again writer-director Ritchie demonstrates a deeply pleasurable combination of verbal flair and visual wit while conveying the genuine, intimidating hardness of the English working class and its love of language.

Boasts some genuinely intelligent and funny sequences and some nicely painful scenes of domestic tension - as well as surprisingly strong performances from actors like Neve Campbell and Donald Sutherland.

The often difficult-to-follow plot is sort of "Traffic" for nitwits.

Both witty and poignant.

Fascinatingly, many of the interviewees disagree vehemently about Holmes' personality: some of his co-stars and colleagues found him repellently abusive and selfish.

Recycles every cliché of the genre to sleep-inducing effect.

An inferior factory product, cranked out with little care and less imagination, that seems all the dumber because it's pretending to be smart and topical.

Aside from an uninspired script by Frank Cotrell Boyce, is that none of the assembled actors really has enough star presence to compete with the sheer spectacle.

Beautifully filmed, and the star-crossed lovers, both played by first-time actors, are a match made in art-film heaven. But I must admit, the pansori singer got on my nerves about halfway through.

A clever, funny, extended joke about ruthless directors, method actors and the power of the cinema.

Atriumph on almost every level. It is breathtakingly stylish, wonderfully acted and its three interrelated tales of the "war" on drugs are brilliantly structured to form a cohesive, powerful whole.

Too often seems like a slightly silly film.

Plays like a very good TV movie. Short on visual flair and starpower, Thirteen Days is not the definitive story of the Cuban missile crisis, but it's an engrossing historical lesson nonetheless.

Never really gets out of the starting gate.

Although Vatel is trying to say something about freedom and gilded cages, it feels more like a behind-the-scenes look at the high-end catering business.

A laugh-filled comedy that might be described as "The Full Monty" meets the Three Stooges.

Anyone expecting a hard-hitting biography will be disappointed by Julian Schnabel's soft-edged, dreamy and relatively nonpolitical film.

No one will mistake But Forever in My Mind ("Come te Nessuno Mai") for something by Fellini or Visconti. But it is, in its own way, skillful and most entertaining.