As a comedy, The Mask is genial, but its recycled plot is far too thin for the film to succeed as either an adventure or a spoof.

For a movie being touted as a sophisticated farce suitable for family viewing, North turns out to be surprisingly immature.

The Client is an example of what happens when a production team does the best they can possibly do with a routine script.

One of the best things about True Lies is that it's genuinely funny.

This is not a "nice" movie -- it deals with some pretty intense issues (like incest and suicide) -- but it is both bold and inventive, and works because of an unforced approach.

Any time Disney tries their hand at live action, though, the results are usually pretty poor. Just not this bad.

Passionate and magical, Forrest Gump is a tonic for the weary of spirit.

The Shadow's problems have nothing to do with the basic premise; rather, they are flaws in execution. The setup promises something more invigorating than it delivers.

This film never believably captures the sport it portrays, and that leads to a picture that's closer to a strikeout than a home run.

Wyatt Earp's attempts to cover so many years lead to too many scenes with little emotional power. The film doesn't shoot blanks, and it is better than Tombstone, but, considering the names involved, a little disappointment isn't out of the question.

There are moments of fun and humor, to be sure, but the undercurrent is of a far more serious, "adult" nature. The Lion King is primarily about guilt and redemption.

It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.

Despite its flaws, White is an excellent character study, and the presentation of a twisted love story is compelling.

Renaissance Man is a movie of moments, too many of which are mediocre or unfulfilling.

Using parody as its means, Fear of a Black Hat has a lot to say about the exploitation that surrounds the rap music business. This movie is not tightly-scripted or elegantly produced, but it is (for the most part) highly entertaining. For those who have been waiting for a sequel to Spinal Tap, this may be the best alternative.

The quality of the writing is more than a notch below that of our show. Most of the jokes aren't as witty, and the laughs come less frequently. Maybe it's because so many of the things they do in the movie are lifted directly from the show, but a lot of stuff seems stale.

The comedy is mostly restricted to one-liners, some of which aren't funny. And the action is uninspired, barely tapping the vast potential of an amusement park chase film.

Even Cowgirls is as close to an unwatchable film as there is available at this time in the theaters.

It has great action sequences, more than a splash of legitimately-funny humor, solid performances from engaging actors, and a script that doesn't demand much mental exercise.

Crooklyn comes to the screen with an upbeat tone and a lot of heart. Beneath the surface of this deceptively simple motion picture lurks a keen insight.

The vision of director Alex Proyas lifts this film above its sad history.

For all of its existential posturing, Being Human ends up being a rather shallow motion picture.

Almodovar's central parody is strong enough to save this film from floundering too much or too often. It's daring and nasty, but rarely brilliant.

Dream Lover is a classic example of a movie setting up its viewers. Half the fun lies in recognizing that at the end. Artsy dream interludes and some rather silly dialogue mar the production, but these things fade into near-obscurity in the face of the climax. Dream Lover will never be considered a classic, nor even a particularly memorable example of its genre, but that won't stop those who watch it from enjoying themselves -- even if that means playing into writer/director Nicholas Kazan's hands.

The movie is still a little rough around the edges, featuring its share of scenes that, for one reason or another, don't work, but the overall effect is one of pleasant entertainment.

The problem is, the characters don't grab me, and the story meanders too much.

While the idea sounds fertile, the execution is uneven, and the comedy sporadic at best.

Red Rock West is a roller-coaster ride of a film, designed for those who like their thrillers spiced with the unexpected.