It looks like a low-budget film, but in this case that just adds to the charm. Croghan's only false move was to divide her film into segments, each one introduced by a quote from a famous writer.

Every instance when Turbo: A Power Rangers Movie feels like the worst movie ever made, some goofy little screechy moment involving the villainess, Divatox, saves it. So it winds up being nearly the worst movie ever made.

That the would-be buddies are played by Harrison Ford and Brad Pitt ensures enough star power to keep things moving even during the sluggish early scenes that set up their relationship.

Adults may have more fun watching this engaging film, which cleverly paints Hollywood as a treacherously duplicitous place even though it turns out some of the most joyous entertainments on earth.

The movie, directed and written by Gregory Nava ("My Family/Mi Familia"), is only so-so but Lopez, who appeared recently in "Jack'' and "Blood and Wine," is so vibrant that you almost forgive the movie's paint-by-numbers script and moldy formula.

Carrey goes boldly where no funnyman has ventured before, and it's simply amazing to watch him do it.

I'm not quite sure what David Cronenberg is trying to say in Crash, but whatever it is, he deserves a lot of credit for having the nerve to put it on screen and face the consequences.

Kore-eda weaves these images and others, building a multilayered fugue that contemplates death, asks if mourning ever truly ends and addresses the ephemeral nature of love, family and home. Everything we value and use to define and frame our lives, he suggests, is always at risk.

There's only so much Soderbergh can do. Gray's Anatomy is made up mainly of Gray, and there's a whole lot of Gray going on. The story is unremarkable. Gray's observations, pedestrian.

First-time film director Sullivan draws good performances from Goldwyn, Hutton and Parker, as well as Debra Monk, Elizabeth Franz and Eric Bogosian in minor roles.

What this film desperately needed was another element in the script, something besides love and sex. Maybe something about art, something that put the lovers on the same team and back into those appealing bohemian clubs. As it stands, love jones is a smart setting in search of a story.

Private Parts is witty and fast-paced and makes Stern's raunchy, breast-obsessed, lesbian-fetishizing, big-penis-envying, arrested-adolescent outlook seem like harmless fun.

Mildly caustic, sentimental and slow.

Dunye's engaging personality quickly wins you over. She deserves to be a character in a movie; she's more interesting than most.

The Daytrippers is low-budget perfection, a comedy without a false note and without a flat joke.

The true soul of the New York mob is portrayed in Donnie Brasco, a first-class Mafia thriller that is also in its way a love story -- perhaps director Mike Newell's best.

Noirish thrillers live or die by their plot twists and dialogue -- talk literally being cheap compared to action shots. Unfortunately, the script by first-time filmmaker Paul Thomas Anderson fails on both counts.

Vanessa Redgrave makes a regal if too-brief appearance.

Booty Call never quite gets tiresome, thanks to the appealing cast and its sexy-goofy spirit. The picture succeeds in finding jokes within jokes.

It's a weird movie, in that spooky/sicko, deadpan way that Lynch's movies always are, and it's guaranteed to repel anyone who likes entertainment wrapped in tidy resolutions and optimistic fade- outs.

Rosewood is startling, infuriating, painful history played out as a not-very-satisfying, overly ambitious and overlong movie.

A sour romantic comedy that arrives in theaters just in time to spoil Valentine's Day. Its plot is a catalog of unpleasantness. Its characters are repellent.

Why, if Chase is such a funny guy, does he make such unfunny movies?

A first-rate thriller about arrogance at the top.

It's a light-hearted comedy about faith, transcendence and American-brand exploitation, and addresses those issues in such goofy, indirect, unhurried fashion that you could easily miss what Schrader has to say.

The new comedy is screechingly inane and skitters in nine directions at once.

Approximately the last hour of Dante's Peak is made up of action scenes, and how well one likes computer-generated destruction will determine how well one likes the movie.

SubUrbia is depressing comedy -- the more so because director Richard Linklater's satirical picture of youthful alienation rings painfully true.