Sadly, Management is formulaic indie romantic comedy at its core.

While it is true that nothing all that original happens during the funny parts of the movie either, the family's Puerto Rican heritage gives the movie's comedy a unique spin.

There's nothing blatantly wrong with it (except perhaps the red-assed baboon ex machina), but it's 100% shock-free and coasts to a formulaic conclusion.

If the roller-coaster plot twists lose you, there's always the satisfaction of Douglas's take on a script rife with amusing double entendres.

It's almost three hours long, and that's a lot of time to invest in what is, essentially, a theme-park attraction you can't ride.

In the end, the sheer obviousness of Shainberg and screenwriter Erin Cressida Wilson's take on Diane Arbus' perverse determination to examine and document the forbidden overshadows even Kidman's beautifully modulated performance, which takes Diane from brittle neurosis to a vaguely predatory ingenuousness.

Not a terrible movie exactly, just a dark, edgy idea relentlessly worn down into mildly diverting blandness by the mega-wattage presence of stars Mel Gibson and Julia Roberts.

The film is all a little Lit Crit 101, but it's extremely well played and often very funny. But beware: Solondz uses humor as a booby trap, so be careful what you laugh at.

A startling about-face for Australian director Alex Proyas, and an unwelcome one as well.

Schwarzenegger proves to be mildly amusing, but DeVito seems to be coasting on his past reputation as an audience pleaser.

A funny, entertaining little film that pales in comparison with the original, but has enough value in its own right.

For a slick pop entertainment, more than the usual quotient of timely ideas rattle around between the relentless product placements and futuristic geegaws.

Everyone involved seems to have been operating from the presumption that gross and blasphemous equals hilarious. Would that it did.

Surprisingly compelling, if not up to dealing with the larger political issues it raises.

This bizarre hybrid of romantic comedy cliches and less-than-subtle social commentary defeats their best efforts to make it sparkle.

Most of the gags recycle the same tired old romantic comedy schtick, with special effects.

The stepping is terrific and the climactic sequence, a knowing nod to the infamous Bollywood "wet sari" number, is a knock out. But the united colors of we-can-overcome cuties, predictable class conflicts and sanitized keeping-it-real bluster bring the story's intensely formulaic nature into the.

This picture never moves past dull, sitcom humor.

The very sentimental Charly has not dated well, but still remains intriguing for its premise and for Cliff Robertson's Oscar-winning performance.

The problem with RUNAWAY is that it never reaches deeper than a playful level, amounting to nothing more than great but shallow entertainment. Selleck provides a thoughtful performance, coming across as a real, feeling person instead of the expected Rambo-esque tough-guy stereotype.

A tense geopolitical thriller that leaves a curiously bad aftertaste.

Although superficially an odd couple, the outspoken Barr and the restrained Dench work together surprisingly well and a steady stream of jokes aimed at both adults and kids keeps this genial entertainment galloping along at a brisk pace.

Melodramatic.

Overall it's slick, brainless entertainment.

Rosie O'Donnell's bracing freshness and genuine likability cut through the cloying stuff every time, but there's nowhere near enough of her to balance things out.

Although it aspires to subversive social satire, FUNNY FARM seems little more than a dumb comedy more determined to make people guffaw than to think.

This film, with a whole new cast of miscasts, is even more mindless than its predecessor.

In its small way, however, it succeeds, thanks to director Hugh Wilson's light touch and the chemistry between leads Shirley MacLaine and Nicolas Cage.