There are a few sparkles of humor here, but this remake is an inferior product. Whereas Sturges played out his story with wit and flair, Howard Zieff's direction is flat and uninspired.

Overboard aspires to be a wacky, heart-warming screwball comedy, but it is neither memorable nor particularly funny. Hawn and Russell have both shown themselves capable of bringing this kind of light comedy to life, but even their likable screen presences aren't enough.

An often spectacular but ultimately rather tedious musical/adventure/comedy.

If you were to strip the "Austin Powers" films of their juvenile lewdness, psychedelic decor and swinging soundtrack while leaving intact the potty humor and pratfalls, the result would be something very like this pointless spy spoof.

The insidious influence of too much therapy permeates this misguided and very long picture.

The mystery is terribly plotted and the satirical elements are limited and not very funny.

This high-concept gangster picture tries unsuccessfully to duplicate Reservoir Dogs's(1992) hair-raising high-wire balance between dark comedy and violent crime thriller, undermining some entertaining performances and the script's small virtues in the process.

In a film about the ruthless corporate destruction of small businesses, it's hard not to flinch at the prominent placement accorded IBM, Starbucks and AOL logos.

For the most part, anything resembling a genuine plot is pushed back to give a showcase for Shore, a scenery chewer without conviction or noticeable talent, whose deficits as an actor and comedian have evidently remained safely hidden in the zap-happy MTV format until now.

This third--and, at $30 million, most expensive--go-around gamely attempts to jump-start the viewer's interest with the canny switch of locations (and centuries), but the new recipe can't change the fact that this Turtle soup has grown cold.

Then there's the utter lack of sexual chemistry between Li and Aaliyah, sucking all the urgency out of the relationship between the star-crossed lovers.

Nicely shot around New York City, this dodgy mixture of cutesy romance, dark satire and murder mystery uses the same central conceit as Neil LaBute's "Nurse Betty."

Slight, over-long.

Pacino's no-holds-barred performance is either the reason to see this tepid thriller or the reason to avoid it. His evocation of a Sidney Falco-style flack worn to a nub by decades of trying to spin this dirty town is nothing if not bravura.

The plot is mindless and only an excuse for lots of music video-styled dance sequences.

Has the dubious appeal of a preachy "Afterschool Special."

In its noisy, pointless way, STREET FIGHTER does come close to the frenetic meandering of a video game scenario--which is precisely the problem. Video games are always more fun for the players involved than onlookers; consequently, this whole subgenre seems inherently self-defeating.

It's a good thing the two rappers are such utterly natural actors, armed with terrific comic timing.

Although it looks like an action thriller with a sci-fi twist, the bad guys aren't scary (Biehn's soul patch notwithstanding), the sci-fi element is silly and the action is limited to some extreme bike riding and computer-generated zipping around.

The film's real problem is Carpenter's diffuse narrative, which introduces far too many characters--forcing the director consistently to cut away to each story strand, thus destroying much of the suspense. What does work, however, is Carpenter's unmatched visual style and the marvelous photography of Dean Cundey.

A long, dark night o' slacker despair, courtesy of Richard Linklater and self-important blowhard Eric Bogosian.

Possibly Minnelli's worst screen musical.

If Reeves weren't onboard this picture would have gone straight to video.

OCTOPUSSY features the usual array of fine stunt work and special effects, and Adams' appearance marks the first time that a Bond woman was allowed an encore performance, but little is added that departs from the Bond formula.

This drag comedy is aimed squarely at middle America, where these cuddly queens should play very well -- just so long as nobody remembers that gay people don't just sing show tunes and cook delightful meals; they also have sex.

Veers inconsistently between sit-com jokeiness and nostril-flaring melodrama.

Feather-light and proudly goofy, this Jackie Chan action comedy appears to be aimed squarely at under-12s.

Despite a certain loopy charm, the film's appeal ultimately hinges on the musicians.