By no means a good movie. Although based on a true story, the mathematical error that led to Daniel and Susan's predicament is handled with such dramatic slovenliness that the viewer is apt to be confused as to what actually happened.

Director Wayne Wang stumbles through the awkward script without finding its shape or its tone, steering it toward maturity while the script falls back into slapstick sports gags and adolescent social politics.

The new production is handsome and offers a few riveting moments, but it's basically a botched job that misses all the impact of both the original movie and the 1946 Pulitzer Prize-winning novel by Robert Penn Warren that inspired it.

This harmless but mediocre enterprise was doomed to failure from the start. Hollywood magic can do a lot, but it can't raise the dead.

The script consists largely of goofy little scenes in which various groupings of the four characters banter in that nervous, Woody Allen-ish, never particularly funny or endearing or believable dialogue style of the '90s dating movie.

Baldwin and Broderick each click in their roles and consistently rise above their material in every scene. But the movie around them falls flat and can't begin to sustain its premise.

It’s a comedy, a romantic star vehicle, a thriller, a horror movie and a quasi-environmental parable that's calculated to appeal to all demographic groups. It's not enough of any one of these things to be particularly engaging.

Too bad the film, which Kennedy spun from a stand-up skit, remains as blissfully unaware of its possibilities as B-Rad is of his absurdity.

Basically lives up to the old adage that the final work in a trilogy is invariably the weakest.

It is a fairly routine exercise in New Millennium movie mayhem.

The whole thing feels like watching somebody else play a video game. Director Michael Davis obviously was more interested in crafting a series of gunfights than a coherent story arc.

Splashy and sweetly romantic, if hopelessly unimaginative.

For an ostensibly personal film, this plodding portrait of the self-involved flailing for meaning in a mercenary world has little of Soderbergh's insight, empathy or generous personality.

It feels like a peek into the closet of a pedophile and it's genuinely discomforting.

Think of it as a buffet of romantic comedy comfort food: the good old American standbys complemented by bland international dishes.

The only real difference between this and the handful of other Happy Madison flicks is that James (executive producer, co-writer, star) has made this Sandleresque movie family-friendly, with very little swearing, no nudity and all the edginess of a "King of Queens" rerun.

It's a colorful and exuberant but by-the-numbers and fairly charm-free concoction.

There's no conviction among these self-involved folks who sidestep commitment with a quip and a grin.

A forgettable waste of time.

Scott, whose sensitive turn as a priest inspired by Ralph's conviction and commitment gives the film a touch of grace at the cost of revealing McGowan's drab direction of every other actor.

The Black Dahlia, looks so terrific and is filled with so many imaginatively showy sequences and masterful directorial touches that you almost don't notice that, in every other way, it's just not a very good movie.

Moormann's reverential documentary, seven years in the making, is most successful as a self-narrated autobiography. It fails, however, to deliver a balanced portrait of the man's life and work.

Edgy, hard-boiled crime drama that is very much in this Tarantino-esque tradition.

A thoroughly ordinary drama of temptation, dubious redemption and easy revenge.

Offers precious little inspiration, and the only irony it manages is surely unintended.

As a sports documentary, Murderball is tame and uninvolving. It does however, offer a hard-edged and unsentimental portrait of strong-willed people.

You can feel the debt to Sidney Lumet's '70s studies in police corruption and cop brotherhood, but O'Connor never captures the edge of danger, anger and moral stands being ground up in compromise.

Reportedly, Lucas has been tinkering with this "director's cut" for nearly two years, so its sound and visual elements -- which were fairly impressive to begin with -- have been markedly enhanced, while new digital backgrounds give the film a more epic scale. Still, it's an extraordinarily unengaging and tedious affair.