The House of Yes is what happens when a film takes the dysfunctional family melodrama to its farthest reaches. It's a bold, gutsy movie that's definitely not for everyone.

Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours.

Kauf, whose Stakeout was a lighter blend of the same kind of elements at work here, knows just how to play the material to keep it enjoyable. That's not an easy task, considering that the main characters are pretty reprehensible and the basic plotline is about covering up the accidental murder of a cop. Nevertheless, in part because of a series of good performances and in part because Kauf approaches things with confidence, the results are positive. Gang Related may not be Pulp Fiction, but it's not a bad foray into tangential territory.

It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.

Yet, although Stone has clearly made this motion picture with his tongue planted firmly in his cheek, he nevertheless manages to capture all of the tension and mystery necessary to hold the viewer's interest.

Provocative, entertaining, and impeccably crafted.

Isn't much better or worse than the average James Bond movie, except, of course, that it doesn't have the cars, the gadgets, the girls, or Bond himself.

Soul Food stays a cut above the average melodrama by keeping the characters grounded and the situations from becoming too ripe.

The Edge comes across as a parody/adventure without a clear sense of identity.

Lately, it seems that film noir has become the province of independent productions. As a result, it's refreshing to see a big-budget, studio effort of this sort that does nearly everything right.

This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.

A low-key holiday drama that's refreshing not only because it lacks the big discovery melodrama of most similar movies but because it's entirely believable.

As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.

Seagal fans will find that their hero is still in his usual form (his form, like his expression, hasn't wavered since he debuted in Above the Law). The action scenes are adequately directed (by Felix Enriquez Alcala, a TV director making the crossover to feature films), and there's a genuinely tense truck-and-car chase that is worth about 90 seconds of moderate excitement. The rest of the film is all by-the-book stuff, but that's what's expected whenever the name "Steven Seagal" tops the marquee.

If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.

She's So Lovely isn't a flawless production, but it's a fitting tribute to John Cassavetes, and a reminder of the many ways that a woman can be under the influence.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

It's the kind of high energy, fast-paced film where you can guiltlessly root for the heroine to persevere -- but that's all it succeeds at.

In fact, the title of this motion picture is quite apt -- Mimic does an excellent job of imitating not only Aliens, but several other science fiction and horror features, including such odd choices as Leviathan and The Thing. The derivative result is, as one might expect, moderately entertaining, but far from groundbreaking in its approach or execution.

Mehta has created a pair of memorable characters who are easy to empathize with, and who gratifyingly are never transformed from flesh-and-blood individuals into mere symbols.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.

The concept may not be bad, but there are times when the execution borders on embarrassing.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

In the end, Conspiracy Theory fails to work as an action film, a romance, or a mystery -- all of which it aspires to be.

Career Girls is a wonderful diversion -- expert film making that's all the more effective because it seems so natural and effortless. The movie lacks the grit of Naked and the emotional impact of Secrets and Lies, but, because it effectively transforms two strangers into people worth caring about, Career Girls can be regarded as nothing less than a success.

In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.

Unfortunately, Picture Perfect uses embarrassing contrivances to sabotage what should have been a pleasant excursion down a familiar road.