Camille's desperate, destructive antics just don't seem especially cute or funny.

Calling CHILDREN OF THE CORN II a better film than its predecessor is something like damning with faint praise, but this sequel manages to be somewhat less ludicrous and occasionally a little more chilling than the first film.

The best part of the movie is the fetid, oppressive atmosphere Hooper works up inside the sweatshop that evocatively serves as an industrial hell. The Mangler itself is an imposing creation, and its gory activities (which are more so on an unrated video version) pack an occasional chill, but too much of the movie is devoted to slack plotting and overstated acting.

Danner, whose Dina actually resembles a human being, would be its saving grace if her gracefully controlled performance weren't lost in a sea of braying caricatures.

Diehard Sandler fans will probably find it uproarious, but others will have to make do with the occasional chuckle.

The climactic shootout might have more impact if we actually cared about the so-called characters.

Producer Irwin Winkler's directorial debut is a well-intentioned history lesson that may play like a clear-eyed relevation for the last person in the world not yet aware of the period of the Hollywood blacklist. For everyone else, Guilty By Suspicion is a mediocre, pointless non-examination of a paranoid, hysterical historical tragedy.

The film's sense of humor is relentlessly smutty. Rifkin attempts to wring laughs from gross food, breasts, garbage and sex with fat women. He is largely unsuccessful.

It's hard not to feel sorry for the high-profile cast, obviously working for brownie points in heaven -- they're so good, yet nothing they do can make the movie fly.

Smith's unrepentantly juvenile sense of humor leans heavily on elementary pop-culture parody, a particularly tiresome and parasitic form of humor that depends on an audience of smirking know-it-alls who can be trusted to snicker whenever they get the reference.

Most of the occasional chuckles are provided by the spunky York, who really gives Diesel a run for his money.

A meandering and deeply shallow tale of spiritual redemption.

Loud, stupid and clumsy.

For horror fans in a forgiving mood, it's an adequate fear fix.

This tepid romantic comedy not only fails to break the rules, but it follows them to the letter.

The less time you've devoted to thinking about the nature and uses of the erotic imagination, the more challenging this will seem.

This lackluster sequel was surely much more fun to make than it is to watch.

Essentially a big-budget, modern-day version of a 1960s acid-trip film, ALTERED STATES was helmed by flamboyant, talented, but frequently self-indulgent director Ken Russell, who takes a confusing Paddy Chayefsky story and wraps it in a pretty package, but fails to bring any clarity to the silly affair.

Visually stunning and breathtakingly frank, but thrill-seekers beware.

The violence is excessive and the plot predictable, although there is some style to director Winner's approach.

For most of the film, Cedric seems to be holding back, though his relationship with genuinely charming rapper-turned-actor (Lil') Bow Wow offers up a few funny moments.

It doesn't help that the cast is populated by unfunny actors, with the possible exception of Evans, who is an appealing presence if not necessarily a great comedienne.

Falls victim to an overly tricky rethinking of the way familiar TV shows are transformed into movies.

If Michael Wincott -- who under normal circumstances can chill your blood just by breathing -- can't make the villain compelling, you know the movie's in trouble.

The main characters are defined by their problems, and the secondary characters (notably Brigette's parents) are so crudely drawn it's hard to imagine what Cates was thinking.

The film's greatest asset is Linney, whose prickly, finely calibrated performance as the doomed Harraway makes her loss resonate more powerfully than any of the point-counterpoint rhetoric.

It's a silly, stupendously artificial enterprise.

This old-fashioned Western about the glory years of the Texas Rangers, cast with fresh-faced, telegenic young actors whose performances range from adequate to awful, is undermined by a serious lack of true grit.