No matter how you parse it, the film is a bizarre muddle.

Welsh-born actor Roger Rees bares body and soul in director/cowriter Eric Werthman's handsomely photographed examination of the dynamic that unites a masochist and the sex worker who caters to his desires.

Surprisingly effective supernatural tale in which there's more to fear from the living than the dead.

It's a one-joke film that's stretched well beyond its welcome.

Alba, constantly sporting off-the-shoulder tops a la "Flashdance," brings no depth of feeling to her character, and her average -- often wooden -- moves make it hard to believe she's a uniquely talented hoofer and sought-after choreographer.

Writing, directing, and starring in WISDOM, Emilio Estevez was in over his head. It's a well-intentioned project that shows a certain promise and visual flair, but fails to come together as anything more than an expensive film-school thesis project.

The voice-over narration is obvious, but overall the message is integrated into an unusual story that's enhanced by Liberato's and Fulton's appealing performances as the youngsters who see through their elders' lies and help right a terrible wrong.

This sequel to the surprise 1988 hit is a slicker and ultimately more disturbing film than the first.

All of which would be fine if Figgis managed to work up any real suspense, but the film slogs towards its inevitable mano-a-mano showdown like something up to its knees in mud.

The sequence in which the crew acquires press credentials to the Republican National Convention by helping organizers desperate to book a rock band (they deliver Leitch's scruffy pals the Interpreters USSA) is priceless.

It's not easy to make a thriller that's both incredibly convoluted and intensely boring, but director E. Elias Merhige scores on both counts with this lame excuse for a spooky crime story.

This lackluster tale of redemption has violence aplenty and an undercurrent of humor.

SIDE OUT might interest a few beach bums, volleyball fans, and product-placement buffs, but otherwise it has limited appeal.

Overlong, overblown, and badly scripted.

An unintentionally surreal kid's picture.

Instead of the witty, intelligent script needed to pull off an interracial buddy story, however, the scenario for this film is an obvious lift from RAIDERS and a flat, uninteresting piece of writing, occasionally interspersed with embarrassingly sappy affirmations of friendship.

As the barbaric Montgomery, who helps bring out the beast in the beast-men, Val Kilmer raids the closet of sinister mannerisms and tries them all on for size. Poor David Thewlis is in another movie entirely.

Mean little film that pretends to say something about rape but panders to the cheap exploitation values of bad thriller films.

Slick and glib when it means to be profound yet ruefully witty; its rhythms are pure sitcom, complete with emotional rimshots.

MacDowell, Staunton and Chancellor are terrific, tearing into their juicy roles and reveling in first-time feature writer-director Jim McKay's sharp-tongued dialogue.

Bright, who reworked co-writer Stephen Johnston's screenplay, changed all the names except Bundy's so he could "make up stuff," but the irony is how close to the facts -- at least to the degree they're known -- he stays.

Ultimately Stokes remains true to his music video roots and relies on the film's flashy voltage dance scenes and frenetic pacing to keep viewers' attention from wandering.

Renny Harlin's big, chaotic pirate flick is best understood as an attempt to revive the waning career of his wife, Geena Davis, but he's done her no great favor. As Morgan Adams, a sort of distaff Errol Flynn, poor Geena gets lost in a hectic scenario that's littlemore than an excuse for a series of thunderous explosions, clanky sword battles and run-of-the-mill spectacular stunts.

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.

The movie has only a few bright moments, mainly provided by the fine group of supporting actors. Pryor displays none of his old manic energy, and the film follows suit, proceeding with murderous deliberation.

An insult to the intelligence of most moviegoers.

There's nothing hugely wrong with this picture, if you allow for the fact that it's derivative, predictable and crude. There just isn't anything especially right with it, except for a pretty creepy black-and-white nightmare sequence and a scene that reveals more than most people want to know about vampires' urinary peculiarities, but is certainly something you haven't seen before. Unfortunately, both occur within the last 20 minutes of the film, and there's a formulaic lot of nonsense to huff and puff through first.

This dreary satire of the post-war American family has a small but devoted following. Writer-director Tony Richardson has constructed a complex screenplay based on an even more convoluted novel by John Irving. It's a fairy tale about virtually everything and, as such, will not satisfy everybody. The film is laced with blackly humorous takes on heterosexuality, homosexuality, incest, abandonment, Nazism, masochism--a veritable laundry list of contemporary neuroses.