Although his film biography features beautiful production design and more than 1,400 costumes, it is unfortunately perfunctory, flat, and predictable.

Far from Bartel's best exploitation work but worth a look for low-budget cult fanatics.

The script is heavy on platitudes about friendship, but since there isn't a single fully fleshed character in sight, who cares?

A truly lousy reworking of a Billy Wilder misfire... The story is drearily predictable, the leads are charmless -- Ormond's 15 minutes are probably already behind her -- and the direction, by the usually reliable Sidney Pollack, is strictly by the numbers.

This has got to be the first time in history that a boy-and-his-dog love story was ruined by having no chemistry between the romantic leads! Hawke doesn't even seem comfortable with the dog. If you want to see a great boy-and-his-dog story, check out Lassie Come Home.

The car stunts are ridiculous, all lightning-fast editing and computer enhancement -- by the time action is this far removed from reality, who cares?

A sporadically funny spoof of aliens-from-outer-space films that begins to run out of fresh ideas after the first 30 minutes.

Has a terminal case of the cutes.

Freundlich's postmodern road movie contains several sharply observed scenes but doesn't really add up to much.

Only those who really love the Bug will be willing to put up with the loose plot and over-the-top action scenes.

Whether this riot of unrepentant trashiness strikes you as tediously ridiculous or brainlessly amusing is probably a matter of mood.

The pacing and action sequences are staged in a manner reminiscent of a spaghetti western and are quite good, but the allegories are too much and too many.

The irony is that for all its "not your father's spy movie" posing, it's exactly like the later James Bond pictures: predictable, lightweight and 100 percent disposable

Sternfeld's script, developed at the Sundance screenwriters' lab, is spare to the point of stinginess; individual scenes play beautifully without adding up to anything, stranding the actors in an emotional vacuum that drains the life from their performances.

Nathanson processes this pungent stew of greed, ambition and self-delusion into pablum so sweet and bland it wouldn't shock a convent-raised idealist.

A feature-length Twilight Zone episode, filtered -- not entirely successfully -- though the sensibilities of David Lynch and his Wild at Heart collaborator, Barry Gifford.

Not even Drew Barrymore's million-dollar smile can save this humiliating comedy.

A few funny bits float the film for a while -- it's always nice to see Peters onscreen, no matter what she's doing -- but it's really as showcase for Marcus, who also wrote the script.

The plot is Kate-Moss thin. Basically agreeable stuff, but not much more. And that's a shame.

The darker hues of Amis's story, though frequently discernible beneath the gloss, are ultimately submerged beneath the usual set of artistic compromises.

The filmmaker's command of storytelling is less than assured, and with the exception of Figueroa and Annette Murphy (who plays Pepe's mistress Letti), the film's performances range from awkwardly wooden to amateurishly awful. While Arteta is definitely a filmmaker to watch, this particular movie is a testament to aspirations that considerably exceed his present abilities.

CONEHEADS represents a prime example of opportunistic commercial filmmaking, with plot and character sacrificed to an endless series of comic ideas that are never developed.

Rosie O'Donnell's bracing freshness and genuine likability cut through the cloying stuff every time, but there's nowhere near enough of her to balance things out.

The problem with Can't Buy Me Love is that too often characters do and say things teenagers wouldn't. At times this is a funny, touching film, but more often it isn't.

Long takes do not a masterpiece make, and the suspicion that the whole thing is a lark is only bolstered by Damon and Affleck's inability to contain their giggles.

Though extremely violent, the film is surprisingly boring in spots.

Although the story is as predictable as can be -- "surprise" twist ending included -- the performances are better than those in most super-low budget horror pictures, and Jessica Gallant's super-16mm cinematography is surprisingly handsome.

A winding story with no real direction.