POSSE remains no more than a pleasant genre diversion with unrealized ambitions.

All the segments are technically polished, but none offers much substance.

Too daft by half -- it might have been better if Ken were less loony, especially because his nuttiness verges on implying that loons love large women -- but supremely good natured.

The title of the film is most unfortunate because it gives no indication of the film's stark theme. Moreau is good as the disenchanted woman, but Mann is less effective.

Amusing if slightly bland comedy in which Colbert and MacMurray uproot themselves from city living after MacMurray decides he can't stand the brokerage business.

Ultimately, aside from the valiant efforts of pros like Elizabeth McGovern and the effortless Bill Pullman, The Favor is virtually indistinguishable from recent direct-to-video exploitation comedies

This is a thoroughly conventional story of one man's search for redemption in the neon slime; its multiple flashback structure is just a way of parceling out information, not a device used to undermine the narrative.

Despite considerable production support and a relatively high budget (it was shot on location in Ireland and on a massive interior set at England's famed Shepperton studios), this is easily the weakest effort in director-screenwriter Jordan's solid career.

The third teaming of Redford and Fonda (after "The Chase" and "Barefoot in the Park"), HORSEMAN falls far short of what it might have been, starting out smart but getting sloppier and more sentimental as it goes along.

Director Mike Hodges and screenwriter Trevor Preston's dark revenge tale strips its crime-story cliches of their hopped-up energy and seedy glamour, leaving nothing but sordid sadness.

Swank is painfully uncharismatic, leaving Christopher Walken, in the minor role of occultist Count Cagliostro, to decamp with any scene in which he appears. His performance may not be historically credible, but it's hugely entertaining: Would that the same were true of the film overall.

Throughout the film, doors slam, windows shatter and poor, battered Betsy wakes up screaming with tiresome regularity; even Sutherland appears bored by it all.

Feels less like a movie than a lost episode of the old Steve Allen or Jack Paar late-night chat shows.

Zentropa is as muddled as it is stylized.

The movie is a succession of shticks--which, when they succeed, are very funny. Unfortunately, not all of them succeed.

Preachy and predictable, an afterschool special in all but name.

The humor is too adult for children and the plot far too childish for most adults; in fact, everything about the film is really too silly to warrant much consideration.

If not exactly dull, Hopkins' stream-of-consciousness rant is nonetheless self-indulgent and crammed with bits of business that never add up to anything much.

It's visually intoxicating, with its lavish ruffs and furbelows, stately homes and manicured gardens, jewels and silks and elaborately curled hair, but there's less to ORLANDO than meets the eye.

The film LOOKS great, but at a brisk 88 minutes, there's no time to fill in back story, from the epic history of paladin persecution to the deeply personal mystery of David's mother, and the cliffhanger ending is so abrupt that the movie seems bizarrely truncated.

Those expecting a reverent sequel to the King tale will no doubt be disappointed.

Though written by Wes Craven and his son, Jonathan Craven, this is pretty standard stuff: A lot of creeping through dark tunnels with just enough characterization to help you keep track of who's still alive, but not enough gore to really satisfy fans of Aja's bloodbath.

This modern-day hybrid of "The Prince and the Pauper" and "The Parent Trap" is a slickly contrived showcase for the professionally cute Olsen Twins, late of TV's Full House.

Mississippi Burning is visually splendid. Director Parker and his crew have created a film that is unquestionably watchable. As a history lesson, however, it's laughable.

Elvis Presley again plays a successful racer in this, his 27th film.

It's hard to say whether the Wachowski brothers' live action take on the Japanese Speed Racer cartoons is more irritating because it looks like a Hot Wheels video game or because the brothers seem to think that there's a powerful family drama humming away beneath the flashing lights and spinning wheels.

It's a mainstreamed, big-screen version of the bowdlerized, endlessly syndicated version of the show, not the raunchy original.

To make up for the lack of real story here, director Sydney Pollack shoots endless travelogue footage in soft light and pleasing colors. The movie is not drama and far from a compelling romance.