Brassy and energetic, first-time director Mars Callahan's vividly photographed ode to the seductive allure of professional sharking succeeds in making the game seem genuinely kinetic and thrilling.

It's a compelling story, and very of its tumultuous time.

This megastar mix of CGI animation and live action is remarkably faithful to the spirit of the original.

Even the inclusion of Simon's classic songs isn't enough to solve all the problems of this comedic misfire.

Even by the debased standards of preachy sports movies aimed at kids, this is pabulum.

Five people were credited with co-writing TURNER & HOOCH, and rarely have so many labored to so little effect. There's barely enough to make up an agreeable made-for-TV movie in this film.

[A] sleazy, generally embarrassing Hitchcock knock-off.

This live-action cartoon tries to walk the line between pleasing the faithful and appealing to a broad-based action audience. It fails on both fronts: It's too lifeless and watered-down to stand on its own high heels, but commits the cardinal sin of messing with the original.

LOVERBOY's "comedy" is a blend of genre-cliches and slapstick, and, not surprisingly, the film delivers few laughs.

Even by the standards of pop-moral parables passing for entertainment, this is bland stuff.

Big, dull, and noisy, this comedy-romance has chases galore, but its comedy is flat and its romance is grating and graceless.

The story's rhythm is so bogged down in unnecessary characterization that the film can hardly breathe.

The film delivers a few slick thrills before beaching itself on an ending that would be chilling if its depiction of unimaginable horror's lingering legacy weren't so muddled.

What a joyless, fussy contraption of a movie!

The bad news is that the racing scenes are repetitive and it takes some serious concentration to figure out which character belongs to what club.

Mines familiar territory and does nothing especially new with it. On the plus side, Kishitani is a spectacular villain.

The film works best when it's sticking to the guns and poses conventions of macho crime pictures. When it reaches for emotional resonance, the results range from unconvincing to ludicrous.

It's a complicated plot, but one that leaves plenty of room for everything a fan could want: gunplay, swordfights, brutal mano a mano fisticuffs, motorcycle races, car chases, Japanese gangsters eating sushi off of topless women, and that old standby, a decapitated head in a box.

Ambling but never less than endearing.

It's hard to know who bears the brunt of the blame for The Eye's stunning dullness.

As a director Prince doesn't show even a rudimentary sense of visual style, and his acting skills equal what his direction calls for. The whole film plays exactly for what it is, one long essay in ego massaging.

The less said about Simpson the better; whatever her talents, she can't sell a simple reaction shot, and, perhaps sensing this, Coolidge's camera tends to drift south of her face.

Even Mo'Nique's outsize presence isn't enough to make ancient gags about stuck-up popular girls or about voluptuous vultures clearing a whole buffet table in one fell swoop funny.

With its thumping soundtrack, absence of body hair and a camera that practically pants over every bulge, curve and crack of the male form, the film is really closer to porn than a serious critique of what's wrong with this increasingly pervasive aspect of gay culture.

Gitai uses fictionalized characters to dramatize historical reality, and while minimalist in its presentation, the film becomes nearly operatic in its intensity.

Fresh-faced leads Muniz and Bynes are charmers, Giamatti makes Wolf into a splendidly loathsome adversary, and the film is refreshingly free of bodily function jokes.

Davis not only wrote and directed the film but edited it as well, all of which is no mean feat. Too bad she couldn't have lent some of her own gumption and self-assurance to her pathetic heroine.

A spectacular natural disaster spiraling out of control, a crime gone wrong and a poor jerk caught in the middle: Yes, it's a standard action-picture recipe. But what a difference a cast makes.