Hooking up can be as random, and as rewarding, as hitting the jackpot -- and helps makes "This Car Up" the best of a pretty good bunch.

Swaddled in terms so trite and cliched that they're almost guaranteed to bring out the closet cynic in even the most sympathetic viewers.

Baldwin dominates the screen with his slick, beefy swagger, and if Prinze is less than convincing as a kid from Brooklyn, Caan and Ferrara nail Carmine and Bobby with such assured economy that it hardly matters they're one-note roles.

It's an uncommonly mature and intelligent chiller, particularly in a period when the genre has devolved into wisecracking fiends and empty special effects showcases.

A hoot and a half.

Queen Latifah's warmly formidable presence drives this amiable but poky comedy.

Overall, the performances are surprisingly convincing, but the mockumentary elements – feel out of place and the intrusive.

There's not an original thought in sight — the story is Evil Dead in a movie theater — and it doesn't pay to give much thought to the self-referential implications of the story: The demons and their gross-out antics are the main event.

The strengths and foibles of human beings are what this film--and all of Eastwood's directorial efforts--is all about, and his Tom Highway is one of the most vividly etched male characters seen onscreen in years.

A misshapen allegory wrapped around a truly awe-inspiring set piece, Ridley Scott's latest is another waste of his prodigious talent.

Has a certain weird charm, but it's too seamy for children and too simplistic played for adults.

You can't beat on Dead Man's on value-for-money terms, but it's like an all-you-can-eat buffet -- everything's tasty, the surfeit is sickening.

This slight story of youthful dreams and adult compromise is bolstered by finely modulated performances from the three leads.

POINT OF NO RETURN remains entertaining, mainly thanks to Fonda. One of the sleekest and smartest of the young stars of the 90s, she makes a highly watchable action hero in a genre usually dominated by muscle-bound men.

Overboard aspires to be a wacky, heart-warming screwball comedy, but it is neither memorable nor particularly funny. Hawn and Russell have both shown themselves capable of bringing this kind of light comedy to life, but even their likable screen presences aren't enough.

A very good musical that should have been a great musical. Bob Fosse, making his film directorial debut, couldn't convey the verve he injected into the play to the movie version.

Bendinger pulls out all the stops visually, using bold set design, frantic editing, extreme angles and computer image multiplying that turns what begins as a Busby Berkeley exercise in synchronized movement into a kaleidoscopic infinity of handsprings and back flips.

Charming.

Silly, good-natured and thoroughly unpretentious, this giant-spider movie has nothing more on its mind than providing the kind of brainless thrills once delivered by movies like Tarantula (1955), Earth vs. the Spider (1958) and The Giant Spider Invasion (1975).

The film's potshots are perfectly aimed.

Their dilemmas are the stuff of dozens of Masterpiece Theater productions, but they're brought to life with a vividness that defies changing mores and cuts to the heart of the ways people justify hurting each other in the name of love.

The animation is truly breathtaking, the action sequences are spectacular (and sometimes very violent) and everything floats along on the strains of Il Won's spare, hypnotic score.

The action here is virtually nonstop and the special effects are often astounding: good and bad guys battle atop speeding trains and the lovers dangle perilously over cliffs and ride through stampeding desert tribes. But THE JEWEL OF THE NILE is missing the faux-innocent tone and consistent narrative invention that made ROMANCING THE STONE work.

As a modest little dramedy about the everyday adventures of starting a family, Marley & Me is pretty solid, but as a movie about the joy and heartbreak of owning a dog, it goes straight for the jugular.

Written and directed in a campy, tongue-in-cheek style, it's a loving homage to those wild imports from Hong Kong--kung-fu movies.

It's all cutely derivative, occasionally charming and very occasionally clever...but the movie's vague aspirations to being something more than disposable fluff never amount to anything.

Do director Bryan Singer and screenwriter Brandon Boyce really mean to suggest that the roots of genocide lie in homosexual desire?

Clearly designed to be a family entertainment, THE CUTTING EDGE has a by-the-numbers quality that's only partly concealed by smooth production values and consistent--if uninspiring--performances.