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.

Unfortunately, where the movie falls apart is in the storyline. While Spawn fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.

187 offers some thought-provoking ideas and several effective performances, but the script ultimately lets down both the actors and the audience members who are watching them.

Petersen ratchets the tension up to a level where the viewer is likely to forget the imbecilic plot contrivances that have gotten the situation to this point, and just enjoy the action and adventure.

Mrs. Brown will delight and touch any viewer who seeks it out.

A clunky script that reduces the characters to one-dimensional stereotypes.

Possesses both an edge and a sense of self-mocking that's unusual for any feature, live or animated.

Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else.

It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.

The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.

Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.

Let me start by saying that Hercules, Walt Disney Pictures' 35th animated feature, makes for good family entertainment. Good, not great. While this film is capable of providing a ninety minute diversion for both kids and adults, it's a far cry from such recent classics as The Little Mermaid, Beauty and the Beast, and Aladdin.

This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel -- pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

Speed 2 can be numbered among the worst second chapters ever made.

The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.

This movie is a perfect example of what's wrong with many big-budget films today: no characters, no intelligence, and, worst of all, little fun.

The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.

A deliciously nasty, dark comedy.

Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.

Brassed Off! is a traditional feel-good motion picture with an element of social commentary thrown in for good measure.

It's rare for homosexuals in mainstream motion pictures to be presented as individuals rather than icons; Love! Valour! Compassion! defies tradition by proffering its characters as real people with believable problems.