Fans may be disappointed that some of the show's secondary characters, like Lizzie's pal Miranda, are AWOL from this Prince and the Pauper-style escapade, and some of the scenes involving Gellman are disappointingly flat.

A move that would be hilariously absurd if it weren't so scary.

While director John Hough (Twins of Evil) does a fine job with the things-that-go-bump-in-the-night aspects of the material, he fails to breathe any life into Richard Matheson's woefully underdeveloped screenplay, which he adapted from his own novel.

It aspires to greater moral ambiguity than the average crime thriller, and if it doesn't entirely succeed it nevertheless avoids the lazy moral bankruptcy of movies like "Lethal Weapon 4."

The non-action scenes are so pedestrian that one suspects the good stuff is less due to workmanlike director Lee Tamahori than to one of the best second-unit crews in the biz.

Excalibur is a grand, clanky, brooding fantasy.

The sparse story of the struggle of the two men with their obsessions, and with each other, skillfully creates a mood that is hard to shake after the ending credits. The car chases are breathtaking.

The widescreen photography is, however, quite beautiful, and the scenes of aerial combat thrillingly staged.

Despite the success of the movie, we turn thumbs way down on this melange of cheap thrills and flat jokes, saved only by the performance of Hanks and some good work by pal Zmed. Hanks is the only oasis in this Sahara of smut.

Amateurish, badly acted and shot on the cheap (many sequences don't even have sync sound), this cult item features a 40-minute car chase (almost half the film's running time) that's nothing short of breathtaking, particularly in light of the obvious budgetary constraints.

It's got turns, it's got an attractive cast that gets shish-kabobed with ruthless regularity. It's just tired.

A bit of whimsy.

While certainly not as interesting or accomplished as The Texas Chainsaw Massacre, Funhouse is a cut above the average slasher film.

The typical "invisible" special effects are employed, though this time with a little more humor.

Derivative and utterly implausible, ERASER is big-budget action filmmaking at its dullest.

Though Keaton is convincing as a smarmy narcissist who secretly thinks he deserves to fail because writing plays isn't REAL work, he's also thoroughly unlikable -- a problematic trait in a protagonist.

If you're rooting for Barrymore and Fallon, then why not their team? In the movies, there are enough happy endings for everyone.

Awful disaster movie that combined the worst elements of soap opera with special effects (bad matte paintings and the ridiculous Sensurround)--featuring an all-star cast that should have stayed home and waited for a real earthquake.

Rapp's theatrical past is evident throughout: His strongest scenes tend to be those purely character-driven moments when his sharp dialogue takes precedence over any cinematic action. Harris gives another strong performance and Ferrell is great in a comic but low-key role, but this is Deschanel's movie.

Gimmick or no, the film is really rather silly and not particularly scary.

The results are mildly comical and occasionally poignant. HEART AND SOULS was Downey's first film after his Oscar-nominated performance in CHAPLIN, but he refrains, thankfully, from pulling a star turn. Instead, HEART AND SOULS remains largely an ensemble effort, with skilled performances by all five of the lead actors.

And yes, that is Salma Hayek in the chorus line of sexily sinister nurses, perhaps repaying Taymor for lending her dramatic credibility with "Frida."

With his ersatz-gangsta swagger, the once-again buff Bale gives it his all -- he's got to be the most committed actor in Hollywood -- but the real surprise here is Rodriguez, who has all the talent and charisma of a major star.

The main attractions here are Greenaway's densely textured compositions, each one a triumph of symmetry and design.

This brazen mix of old and new is undermined by the predictable story, shallow characterizations and a dopey sense of humor.

Feels forced and awkward, as though it's trying too hard to be weird, culty and profound.

This lushly produced, lightweight romance embraces every cliche of the genre without so much as an ironic shrug.

It can hardly help but outrage at least some of the people some of the time.