Heartfelt as Reno and Applegate are here, the film strands them with an impotently blustering, straw-dog villain and a limp, directionless story.

The heavy-handed score by notoriously heavy-handed James Horner is often the only indication that there's supposed to be a point to this showcase for Gooding's relentlessly adorable mugging.

DMX delivers a surprisingly solid and convincing performance, but he's easily overshadowed by the very talented Ealy, who makes his secondary character truly memorable.

Pays backhanded homage to Woody Allen via the travails of college loser Max (Gary Lundy), who fears that years of wallowing in "Annie Hall" have permanently poisoned his love life.

It's sad to see such subtle, wrenchingly emotional work expended on such trifling material.

Gotcha is a hopelessly shallow film, serving up a good deal of hokum in the ridiculous plot. It's a contrived idea to start with, and the script goes through predictable twist after twist until the inevitable conclusion.

Although this film suffered from some miscasting--especially the choice of Shields, whose performance is more than mildly distressing--King of the Gypsies offers an often fascinating look at gypsy culture in America.

The result is a little bit nutty and pretty entertaining in a thoroughly unconvincing way. And watch out for that 11th-hour twist -- it's a head snapper.

Lets down both its actress and the audience.

An amazing technical accomplishment that never becomes a coherent movie.

It has the air of a particularly accomplished student film, by a student whose philosophical concerns outweigh his interest in narrative filmmaking.

The film looks great and makes sophisticated use of digital effects.

Objection! Actors of Julianne Moore and Pierce Brosnan's caliber should not be subjected to playing bland and distasteful characters in mediocre romantic comedies.

The kids, especially the Breslin siblings, are cute. Cusack is underused, but makes her annoying, potpourri-loving suburban mom seem sympathetic. And Corbett is well-cast as an eminently suitable, if slightly dull, life mate for the newly grown-up Helen.

This mean-spirited revenge story would once have starred Cole Hauser's father, veteran B-movie psycho Wings Hauser, and played grindhouses and drive-ins. And it would have been a far more entertaining picture.

Though stylishly produced, this clumsy parable will probably engender more boredom than sequels.

It's not fun and it gets tiring real fast.

McEveety can't match Stevenson's sense of comic timing and handling of slapstick humor, but he still manages to make HERBIE GOES TO MONTE CARLO an entertaining children's film.

The action has more to do with digital effects than true martial artistry, and is targeted squarely at adolescent boys too young to rent porn and gamers too lazy to yank their own joysticks.

Why would anyone who wanted his or her film to be taken seriously saddle it with a cutesy title like this?

Long sequences of Stone in risque sexual situations do little to counteract gratingly bad dialogue, identikit characters, and Phillip Noyce's by-the-numbers direction.

Is it funny? Sporadically.

The one highlight occurs during a couple of brief montage sequences which feature Varney mimicking a variety of cartoonish characters. These few moments are actually funny, but prove to be the only amusing moments in the film.

A bit more violent than the average spaghetti western.

Odd, quasi-mystical movie that’s too silly for adults to take seriously and frankly too weird for kids.

Produced by the son of Trinity Broadcasting Network founder Paul Crouch, this historical epic offers a solid two hours of spectacle and intrigue drawn from The Book of Esther by way of Tommy Tenney and Mark Andrew Olsen's novel "Hadassah."

A protracted piece of whimsy.

Chilly, muted and refreshingly free of cheap shocks, this stylish psychological horror tale is greatly enhanced by subtle (acting) performances.