With neither the dramatic nor comedic aspects of the story line being remotely convincing, the best efforts of the talented cast go for naught.

Rather than delving deep into its subject, the film loses focus by concentrating on the feelings of Harlan's descendants rather than a deep analysis of the man himself.

Never really gets up to speed on any engrossing level, save for Michael Hardwick's notable cinematography.

It is so outrageous with its ethnic caricatures, hokey plot and twin-brother mix-ups that you know the whole thing is a lark.

Should be intriguing to all who know the family, as well as to cineastes yonder at the arty film schools who will lap up its elliptical/self-reflexive style. Normal people will simply walk out on it.

One hates to say it, but after this and "Black Snake Moan," it might be time for the talented actress (Ricci) to keep her clothes on.

Writer-director David Kittredge clearly has serious things on his mind about such subjects as voyeurism, the thin line between fantasy and reality, the link between sex and violence, etc., but whatever points he is trying to make are lost in the general muddle.

Bland, predictable picture, whose sole assets are a cute premise, the Italian countryside and the dignity Vanessa Redgrave brings to a part that, on the page, is quite beneath her.

That it squanders a terrific cast in the process -- one that also includes Common, Phylicia Rashad and Pam Grier -- makes it all the more disappointing.

This mostly unfunny effort -- though it might have made them laugh silly in its home country -- is unlikely to appeal to art house audiences on this side of the Atlantic.

Not for the faint of heart or for those who like their films to have beginnings, middles, and ends.

"Apprentice" lurches from one been-there-done-that sequence to another.

As the film veers between cartoonish and earnest, it doesn't so much find bliss as try very hard to manufacture it.

A horror spoof that has little reason for being, Rosencrantz and Guildenstern are Undead pretty much uses up its quotient of wit with the title.

Hamm is unable to do much with his underwritten role, and the present-day sequences don't really hold interest.

This is a discouragingly limp movie in which nothing is at stake.

As with his 2007 effort, director-screenwriter Rob Zombie's approach is far grittier than in the original series.

Ultimately, there's not enough material to sustain a feature-length film, and the sloppy editing, cheesy re-enactments and cheap graphics don't exactly make for compelling viewing.

An artistically arresting yet narratively lame and strangely unfocused cartoon aimed at older children and young adults.

Depressingly one-note, a story that never springs to life.

Largely devoid of the sex-farce style comic wit to which it aspires, the film is palatable largely because of the charm of lead actress Cheung.

Bran Nue Dae has so much feel-good fizz that you can almost overlook its rickety construction. But not quite.

A dramatically inert, lethargic dramedy that isn't nearly as quirky and poignant is it perceives itself.

There is not a credible moment in this overly calculated melodrama.

After slipping badly with the second installment two years ago, the Narnia franchise does a full-on belly flop with this third.

Clearly nothing but a paycheck project for all concerned, this is definitely the least and hopefully the last of a franchise that started amusingly enough a decade ago but has now officially overstayed its welcome.

Many flashbacks to the children's early trauma, along with other scenes, are unnecessarily repeated several times.

Dull, talk-heavy snoozer that most closely resembles something that would show up on the CW network.