Often confusing, especially during the first half, but Gabin and Ventura are well cast as hoods.

At first glance, FOR LOVE OR MONEY looks like a holdover from the greed-filled 1980s, a last gasp glorification of Reagan/Bush era yuppiedom. The surprise is that it's actually an amusing, if occasionally formulaic, comedy.

Director Frank Marshall mounts the story as tastefully as possible, given the subject matter, but it never seems to have much point and is sometimes unintentionally silly.

Boyle's movie jettisons much of the telling detail; it has the shambling rhythm of a shaggy dog story and so simplifies the characters' ethical dilemmas that it's hard to care what they do.

Classic Italian splatter directed by Lucio Fulci, reviled and adored in equal proportions by Euro-horror fans.

Bodrov's staging and cutting does a perfectly good job conveying their anthropomorphized feelings and motives; the spoken drivel is just a distraction. The film's human characters are largely inconsequential.

A bizarre hybrid between Euro erotic thriller and a parable of Jewish awakening.

Fart, feces and gonad gags notwithstanding, this knockabout comedy is no more vulgar than most contemporary children's films, and more good-natured than many.

The film's nervous, gritty style is woefully out of sync with its broadly whimsical tone. Woody Allen is an acquired taste, and MANHATTAN MURDER MYSTERY is a movie for his steadfast fans only.

Air America comes on like a noisy, overproduced sitcom pilot.

Though stylishly produced, this clumsy parable will probably engender more boredom than sequels.

This multiple-twist thriller gets off to a fine, creepy start but eventually becomes too preposterous for its own good.

A benign, mushy gruel that tries desperately to maintain the sticky sweet consistency of "My Big Fat Greek Wedding" but ultimately ends up coasting on the "kefi" of that previous success.

The lives of three deeply unhappy New Yorkers crisscross in unexpected ways in writer-director Joe Maggio's uneven but strangely affecting film.

The talents of the wonderful Jonathan Pryce are wasted in this poor adaptation of Ray Bradbury's tale of fantasy and the supernatural.

Unfortunately, this flawed but interesting film will be Wassel's only legacy; the director was murdered in 2001 by Nathan C. Powell, who helped finance this film.

What TOP GUN contributes to the genre is an increased emphasis on military hardware and an almost homoerotic attraction for male bodies, mostly sweaty ones.

For all its cute contrivances, Six Pack isn't a bad film and is guaranteed to warm the hearts of Rogers' fans.

While it does take place over a weekend spent touring Northern California's wine country, writer-director Russell Brown's feature debut isn't exactly a bicurious "Sideways." The characters are less interesting and even less likable, and the only pleasure we can take is in their emotional pain.

It's larded with blinding glimpse-of-the-obvious homilies.

It's not that Bedtime Stories is bad, it's just entirely and thoroughly adequate.

GILDA LIVE is simply "The Best of Gilda Radner," as the comedienne reprises her most popular characters from TV's "Saturday Night Live" (then at the peak of its initial success). Radner fans may find this a welcome compilation, but there's little here that wasn't done better on the TV show.

Before it takes a sudden turn and devolves into a bizarre sort of romantic comedy, Steven Shainberg's adaptation of Mary Gaitskill's harrowing short story about dominance, submission and the twisted sexual dynamics of the work place is a brilliantly played, deeply unsettling experience.

Ellis' slight film has its charms, and the backstory he concocted to lead into the original 18-minute short is effective. But the film lags badly in the middle.

The film is shamelessly presented by Miramax as "The Project Greenlight Movie," and writer-director Pete Jones's big break may ultimately prove a liability.

While there is nothing Earth-shattering about director Patrick Read Johnson's first film, it is often quite entertaining. SPACED INVADERS makes fun of just about every outer space film ever made, and throws in some Three Stooges-like mayhem for good measure.

Hines and Crystal succeed in creating a new buddy team that ranks with the likes of Robert Redford and Paul Newman.

The end result is a film that tries to do too many things at once and does none of them quite right.