The first full-fledged Indian musical coproduced and distributed by a major Hollywood studio, this fanciful love story takes its unlikely inspiration from Fyodor Dostoevsky's short story "White Nights."

Disjointed and underdeveloped. John Badham's direction is equally uninspired, though the climactic race, shot on location during the Coors International Bicycle Classic, is filmed with an abundance of breathtaking helicopter shots that capture the beautiful scenery.

Director Emile Ardolino largely saves the day by coaxing winning performances from an excellent cast. Goldberg's work here never loses its edge or originality, allowing her to shine opposite Smith, who is so good that she barely seems to be acting.

Essentially an extended trailer for the 2008 Cartoon Network animated series.

There are some very funny bits, but they're interspersed with long stretches of exposition that drag the whole thing down, down, down.

It's seldom boring and always beautifully photographed, but it's also considerably less than satisfying, perhaps because its internal logic never comes into focus.

Suffers from wishy-washiness.

Situations don't come much more claustrophobic, and if the payoff doesn't quite live up to the build-up, the film is still an enjoyable exercise in claustrophobic suspense.

It's an amiable enough picture, and genuinely insightful about the emotional appeal of devoted fandom.

A pleasant comedy, but any film starring Matthau and Jackson--and written by such funny men as Shulman and Epstein (among others)--should have been much funnier.

Elegant, stylish, and ultimately boring adaptation of the James novel.

Mindless but likable comedy about a failing Washington, DC, cab company that is revitalized when the eccentric group of cabbies work together to save it. A good cast makes the most of the uninspired material.

The film is surprisingly successful in developing a sense of mounting dread.

A formula B movie about race car drivers, it's competent, but unmemorable as anything other than a footnote in Cronenberg's development.

A smash success as a stage play, JUNO AND THE PAYCOCK did not translate well to film, even under the sure hand of master filmmaker Hitchcock.

BETTER OFF DEAD possesses a fairly strong cast, some good gags, and a quirky sense of humor, but it suffers from the stereotyped characters and familiar situations that plague most movies about teenagers. What is refreshing about BETTER OFF DEAD is a deemphasis on sex and drugs. Unfortunately, only about half of the many jokes and gags in the film are actually funny.

For all the updated riffs and personal noodling, it's best when it doesn't stray too far from the original material.

Ivory's last minute decision to render his hero sightless may make certain symbolic sense, but creates an even greater distance between Jackson and the woman he must inevitably come to love; their dull self-restraint makes "The Remains of the Day" look like soft-core porn.

Violent, kinetic, and occasionally clever, KILLING ZOE is no match for either RESERVOIR DOGS or PULP FICTION, but it's a zoned-out rollercoaster ride of the first order.

Walks a thin line between refreshing irreverence and shameless exploitation of offensive gay stereotypes.

It's not an openly meta take on the genre like "Scream," but it's a slasher movie for people who love slasher movies, and if your heart will flutter when a woodchipper casually appears in the first act, it's probably worth watching.

Small children should be delighted by the menagerie of chatty critters, but their parents may be less than thrilled by what the animals have to say.

A pleasant, mindless diversion.

The film's center will not hold. Either crucial scenes were cut (perhaps for length) or Kapur has a problematic sense of narrative structure; sometimes it's unclear who's doing what to whom.

The result is strictly for those who like their comic-book movies short and stupid.

A good concept fails to become a good movie in this predictable tale of corruption in college basketball, featuring the ubiquitous superstar and corporate pitchman Shaquille O'Neal.

Egregious kiddie slapstick, punctuated by shameless overacting.

While there are a couple of genuine laughs here, this AIRPLANE!-style collection of gags and blackouts is strangely sour and ultimately wearisome.