Run Ronnie Run! is an unfortunate mistake, but it's still better than actual reality programming.

Slickly animated and cleverly written.

Veers inconsistently between sit-com jokeiness and nostril-flaring melodrama.

Perhaps the only person more enthralled by the romance of train hopping than the latter-day hobos profiled in this great looking documentary from first-time director Sarah George is George herself.

Much of it is inspired, some of it is downright awful, but it does entertain, even as it threatens to drown its generally fine cast in a flood of blood and sundry body parts.

Dillon makes an assured directing debut, neither indulging in unnecessary stylistic flourishes nor allowing scenes to run too long, a tendency in actors-turned-director.

About as subtle as a hammer blow to the skull and marred by a heedless mixture of fact and fiction.

Though the movie is clearly meant to work on its own, the relationship between Starling and Lecter plays best if you're familiar with "Lambs."

Excellent performances from Sarah Polley and Deborah Harry, and a sensitive script from writer-director Isabel Coixet transform what might otherwise have been little more than a disease-of-the-week cable melodrama.

Would be as tedious as a home movie if the couple, Edward DeBonis and Vincent Maniscalco, weren't gay men and their nuptials not colored by the clash between their personal faith and their rejection by the mainstream church.

Ultimately the sci-fi fillips — human cloning, memory wipes, empathy viruses — are subordinate to screenwriter Frank Cottrell Boyce's doomed romance.

A delicate watercolor dream of a ghost story, as insubstantial and tremulously haunting as an unquiet spirit.

The subject can sharply divide even the most liberal-minded critics, but it's no secret on which side of the debate filmmakers Bathsheba Ratzkoff and Sut Jhally find themselves.

Clever though the premise is, the film's real strength is the smooth banter between Sam and Devon; it's never less than smart, often startlingly perceptive and always thoroughly convincing.

It's hard to say which sight is more depressing: That of Chinese girls mortgaging their futures in the hopes of helping their families, or drunken American girls, surrounded by privilege and opportunity most of the world can barely imagine, arguing that it's fun to degrade themselves for cheap baubles.

Wright's haunting performance is the anchor that keeps Ruscio's film from vanishing down a rabbit hole.

Based on the book by syndicated columnist and savvy media watchdog Norman Solomon, who appears throughout as the main talking head, Earp and Alper's documentary shows just how the U.S. government coerces a nation into accepting the very idea of war, and it's a job it couldn't do without the full cooperation of the media.

If only the wit weren't overwhelmed by lame jokes about body parts, functions and fluids.

Though inspired by Weiland's own childhood, the film's plot sticks close to the underdog's coming-of-age formula and is marred by young Bernie's gratingly self-pitying voice-over.

The direction is routine action filmmaking with no originality. The film, therefore, is both exciting and flat all at once.

Though Argento's plot is often confused and grotesque, he has a remarkably energetic visual style (mobile camera, slow-motion, careful lighting, creative editing) that is never boring.

Woods is particularly good as the deprogrammer, conveying an air of moral tackiness that suggests the "cure" may be worse than the perceived disorder.

Directed by the prolific but uneven African-American filmmaker Michael Schultz, this well-intentioned biography of the first black auto racing champion, Wendell Scott, features Richard Pryor in an early dramatic role.

O'Hara looks like she's just doing Wayne a favor, and Pat Wayne and singer Vinton just don't have much screen presence. These weaknesses plus a mediocre script add up to a very weak Wayne outing.

Good acting and careful direction by Becker make it worth seeing, but the violence and the language may be too graphic for some tastes.

Filmed and released in England in 1976 as FULL CIRCLE, this movie flopped badly and went unreleased Stateside until 1981, when it was unveiled under a new title and still failed to find its audience.

The film uses the locations well and Gazzara's performance is an actor's dream. But SAINT JACK never quite becomes the "important" film it seems to aspire to be. The story is told in too meandering a style and the many well-acted characterizations never mesh together.

The thin story line of NEPTUNE'S DAUGHTER revolves around swimming star Esther Williams as Eve Barrett, a partner in a bathing suit company (with Keenan Wynn), who must continually fight off the advances of millionaire playboy Jose O'Rourke (Ricardo Montalban).