Does offer a few deeply felt moments.

A slim idea for a pulp-fiction short story padded out to 81 minutes with random encounters and celebrity sightings.

Awkward comic timing and uneven performances spoil the desired effect.

Does possess some eccentric moments of high camp humor. But other than that, this low-concept slasher/horror film suffers from creaky direction, a tatty story line, and -- even worse, considering the genre -- a lack of suspense and shocks.

For a while there, Mathieu Kassovitz's atmospherically charged direction sucks the viewer into the story's hellish vortex. That is until the film becomes possessed by an increasingly ludicrous beyond-the-grave element from which there is no rational return.

The one-gag camp-athon has gone over big at gay film festivals, but in theatrical release this debut feature from theater/TV veteran Richard Day has limited appeal. Its best bet will be as a rental item.

The film leaves any opponent of the current administration with a discouraging ambivalence: On one hand, one wants to vehemently decry such tactics in American politics. On the other, one wants to know where the hell is the Democrats' Karl Rove?

Smith stumbles setting up dramatic confrontations and strains credibility a time or two with implausible moments.

The heist itself is almost dull, and the characters aren't half as colorful or interesting as they need to be.

Attempts to pass itself off as a fast-paced caper picture doubling as a socially conscious apartheid drama but ends up equally unconvincing in both departments.

Designed to maximize the visual opportunities for Imax's cameras even as it minimizes the dramatic conflicts that make for a satisfying moviegoing experience.

When there's a whole mess of zombie killing to be done, who cares about reflective writing or that time-wasting element of suspense?

Girls ages 6-14 will get a charge from the fashion show, animation effects and, to a lesser degree, the cartoonish antics. But like most adolescent histrionics, the pic's impact on adults will be limited to mild amusement alternating with annoyance.

Pallid acting and a general lack of spirit ultimately result in a bland costume drama.

An entertaining piece of supernatural nonsense whose sheer audacity disarms all (well, nearly all) skepticism.

May be too clever for its own good. Essentially, it's the story of weekend scientists who build a time machine in a suburban garage. But this nearly gets lost in a miasma of technical jargon and scientific conjecture.

Gibson's intense concentration on the scourging and whipping of the physical body virtually denies any metaphysical significance to the most famous half-day in history.

In outline, the story is pretty funny, and the film's outlandish takes on sports-movie conventions deliver some laughs. But Thurber chooses the low road to those laughs so often that he undermines his own satirical design. His actors certainly deliver amusing, spirited performances, but again, they get done in by relentless adolescent humor.

Sustains a few icy chills, but a mix of genres muddles the story.

Begins by repeating many gags from the previous film. Only now they feel lame and routine.

A fresh, young energetic cast is this wobbly musical comedy's main claim to "Fame."

While it certainly looks swell thanks to director John Moore's striking visuals, the wings of this rebuilt "Phoenix" have been clipped by generic scripting and a short supply of dramatic tension.

Will richly award locals with sly in-jokes and a wonderful comic performance by Bruhl. Non-Germans will certainly get the essence of the humor but may find the movie long and repetitive.

What could have served as a colorful episode in a more expansive film about the famed singer has instead become the premise of a mildly entertaining but overextended road movie that doesn't succeed on either dramatic or comedic terms.

Standard-issue superhero movie -- except that writer-director Guillermo del Toro, taking his cue from "Hellboy" comic book creator Mike Mignola, brings a wicked sense of humor to this particular monster mash.

This amiable, Western-themed animated effort from the Walt Disney Co. is a clear attempt to return to the more lighthearted cartoon style that was so prevalent before its onslaught of stately musical epics.

Should attract Duff's core audience but not much more than that.

Benji is back, which is good news for youngsters and pet-loving families. Film lovers perhaps should steer clear, however, as hokey melodrama and sloppy comedy fill the gaps between neat dog tricks.