The script is atypically bland for Heckerling.

A hilarious, sad and sometimes-inspiring documentary directed by Fenton Bailey and Randy Barbato, the film is an all-out Tammy valentine -- campy, dramatic and, of course, makeup-smeared. And better than any melodrama you'll see this year.

Eventually becomes tedious.

As it unwinds, What Lies becomes both masterful and preposterous.

But the human elements -- jealousy, anger, weakness, fortitude, loyalty, vengeance and honor, all acted out by a resolutely realistic cast -- make the movie extraordinary.

It's a lovely film that suffers from an overdetermined structure and a reliance on a sensationalized plot line that, quixotically, is ignored for long periods of time.

Loaded with fine performances, traffics in audacious images and generally comports itself with a great deal more grace and gravitas than most movies with roots in fantastic themes.

A flawed fable but an intriguing one nonetheless. It's "Splash" gone existential. How many films can you name like that?

For a picture about a stalker, Chuck and Buck is rather sweet, funny and winning.

She (Cho) can tell a joke, mimic, offer commentary, play cute, play ugly and be so hilariously absurd that tears will run down your cheeks.

A lovely film that requires a leisurely sit to think, Shower is not so much a shower as a bath, and a refreshing one at that.

Though no classic, the concept is a clever one.

Gross, sophomoric, offensive, nasty, cheap and mean -- and so funny again and again that you plumb near forget all that's reprehensible about it.

The stick-figure people in the script haven't the slightest chance of making an impression, and you're more excited at the prospect of the next big wave?

The liveliest thing here is the keen sense of regret you feel at seeing two TV icons reduced to supporting characters in a lame movie that trades on their good names.

A movie built on one joke -- an old one -- and an incoherent, even idiotic plot.

Seems likely to stir rebuttal from historians, especially those on the other side of the pond.

While they've managed to make a funny movie, they haven't made a great comedy.

It's a purely winning film.

An impressive array of themes, stories and sequences.

(If) you're one of those killjoys who demands logic, coherence and a semblance of human life from a movie, this one will leave you cold.

If the result doesn't make dazzling watching, it nonetheless has the power to haunt.

Once you lose yourself in Ruiz's stunning achievement -- a wonderfully acted, beautifully realized vision of Proust -- you'll be enchanted.

It's a heap of contradictions that will leave your head spinning.

Frustrating, tedious and yet often compelling.

The film isn't terrible, it's just trying too hard.

Groove seems to be less about what it is chronicling than what its attempting to decipher.

So filled with riches that it seems a bit unfair to single out Szabo and Fiennes, no matter how outstanding their work.