The major problem with White Nights is that it tries to be so many things at once that it fails to be much of anything other than a vehicle to watch two of the best dancers around strut and tap their stuff.

It's mostly forced humor all the way, a movie that rarely measures up to adequate kitsch. Aimed at younger audiences, Spaceballs misses its mark.

Chock full of personality and irreverent detail.

This modest picture is distinguished by some marvelously bitchy dialogue.

This provocative, at times languid, documentary from German experimental filmmaker Gabriel Baur is something of travelogue through this unexplored frontier, a mixed-up, shook-up borderland where nothing, especially not an individual's gender, should be ever be taken for granted.

Fans of the original may be disheartened by this glossier, action-packed version, but the brisker pacing and showy shoot-'em-up scenes are exactly what will appeal to the film's target audience.

The best thing about the whole sorry enterprise is the soundtrack, which features choice tunes by Bruce Springsteen, Starsailor and, of course, Parsons himself.

Fleder delivers the requisite shocks, and his direction is brisk, efficient and occasionally stylish; Judd and Freeman both give more than the material demands.

Though by no means a great animated feature, JETSONS does offer unqualified family entertainment, and it even includes a socially responsive message. While the film is neither brilliant nor hilariously funny, it is frequently quite enjoyable, and fans of the Jetsons will not be disappointed.

An above-average thriller, offering a fresh hero based on "The Destroyer" series of novels (at least 120 of which are currently available).

THE MIGHTY DUCKS is harmless enough, but its schematic retread of a screenplay and its lethargic acting detracts from the unassuming, passable entertainment it might have been.

The Japanese sneak attack that plunged the US into WW II is lavishly and fairly accurately, if not enthrallingly, brought to the screen in this Japanese-US coproduction.

Even Stevenson, a singularly accomplished and versatile actress, can't do much with Julia's early scenes, in which she's forced to dither around like a complete idiot.

Biopic cliches hamstring producer-star Jennifer Lopez's pet project.

Cheerfully gross, deliberately retro horror picture pays tongue-in-cheek homage to the kind of genre movies Charles Band and Roger Corman's companies turned out in the 1980s.

Yes Man isn't without a few simple charms, but it ends up being about as funny, profound, and memorable as the average bumper sticker.

A disappointing, quickie follow-up that vainly tries to imitate the look of the original on an obviously limited budget, and for the most part, eschews the philosophical, social, and racial subtext of the first film in favor of straightforward shoot-em-up action and comic-strip characters.

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.

This lame bid at a thriller is hobbled by a plodding pace and a slipshod script.

An exciting, although pointless, race through the dark and menacing streets of Chicago's West Side.

Director Attenborough's film version has a couple of pleasant numbers which serve as oases amidst the dullness.

Generally amusing -- if occasionally overly sentimental.

The results feel slack – sometimes funny, but slack.

As a debut it holds out the promise that Montias might do something more interesting in his next film.

Moore's film is unusually sharp looking for this sort of documentary, and comes complete with a nice soundtrack. But most important, it's as comprehensible as any "Dummies" guide, something even non-techies can enjoy.

It's a dumb movie, but it's good for a few profoundly undemanding laughs.

This beautifully shot, 70-minute black-and-white film remains deliberately inconclusive.

The satire is broad and easy, while the romance is thoroughly unconvincing.