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.

Is it funny? Sporadically.

As in BASKET CASE, director Henenlotter combines some disturbing gore with an offbeat sense of humor that makes the entire disgusting exercise a bit more palatable.

The resulting awkward, earthbound mishmash thoroughly overshadows Judd and Kline's authentically moving performances.

It's ultimately hard to care deeply about a silly, sheltered girl-woman who's taking an inordinately long time to learn that money can't buy happiness.

Through Carax's eyes, even squalor looks fabulous.

A sober, earnest drama about child abuse.

Unfortunately, the emotionally resonant moments between Murphy and Fanning are few and far between; the rest of the film relies on goofy physical comedy -- Murphy takes more pratfalls that any young woman should have to.

Hudson and Wilson share a natural and easy chemistry that helps compensate for the Cuban-mobster subplot.

Adds little to the annals of werewolf lore. But it's briskly paced and features a couple of clever twists on genre conventions.

Maybe the life was edited out of it in the two years between shooting and release, or maybe Dominik was simply overwhelmed by the outsized myths of the West, but the film only comes to life after James' death, when Ford quite literally takes center stage.

The movie is a good idea, but a good idea does not always result in a good movie. The picture was miscast. Hutton is just too young to be believable as a man of science.

Unlike Woody Allen's New York City, which becomes a staging area for character angst and transformation, Martin's L.A. stifles the characters.

This is the one that started it all and it is also one of the weakest of the "Road" pictures.

Overall it's a colorful, diverting cautionary tale.

This amiable comedy has laughs, but can't compete with the warmth and charm of the original.

Yet another variation on the theme of Ambrose Bierce's "An Occurrence at Owl Creek Bridge." If you've read the short story, you'll see where things are going in no time flat; if you haven't and want to be surprised, don't look it up.

There are some vicious highlights, but the acting is wildly variable, and the film manages to be both overwrought and dull.

Glacially slow going.

The film doesn't really go anywhere, other than outside for endless games of basketball, and the group-therapy environment allows for far too many young-actor monologues.

Connery and Boyle are fine, but the wholesale lifting of High Noon's plot (there's even an on-screen digital readout periodically displayed, counting down the minutes until the big confrontation) certainly undermines interest. 

The detatched, fly-on-the-wall perspective, however, offers little insight into the strange gender game that's played out in the dark safety of the porn theater.

Though too long by a good half hour, Lee's latest film packs a genuine emotional punch, largely because its polemical agenda doesn't entirely eclipse the drama.

Equal parts soap drama and ham-fisted morality tale.

Nicely shot with a good youthful cast.

If you're a Martin fan, you'll love All of Me; if you aren't, there's still enough fun in spots to make it worth your time.

Deeply adolescent; its impact is visceral rather than intellectual.

A pretty little package whose perfect, fairy-tale ending is just a little too neat, the film's colorful wrapping includes veteran actress Carol Kane's bizarre but enjoyable performance as the school's uptight drama teacher.