The plot is full of huge holes, and the film fails to live up to its terrific opening credit sequence.

A high-profile cast can't save this multi-narrative drama about gambling addiction from its wildly uneven tone, which veers from high melodrama to hard-boiled pastiche so overwrought that it's unintentionally funny.

The first fruit of wunderkinder Alicia Silverstone's First Kiss Productions, this muddled thriller-cum-romantic comedy of errors suggests that she might want to lay off the producing for a few years.

There are no two ways about it: A chubby-cheeked dummy doing stuff it shouldn't be doing is spooky stuff. But Wan isn't on such sure footing with his actors -- Wahlberg is stilted as the tough-guy cop, and Kwanten is blandly uninteresting.

Lawrence is a comedian with talent who rarely uses it for anything worthwhile, and here he makes a halfhearted, paycheck-collecting effort that's actually in perfect keeping with the rest of the movie's tired, recycled tone.

Todd McFarlane's Spawn plays better on the page, but the adolescents of all ages who buy Spawn comics will probably enjoy the movie. Others should consider themselves forewarned.

Too dumb to take seriously, but just silly enough to be sort of fun.

Although the first hour of BAND OF THE HAND is fairly engrossing as we watch the rowdy, explosive teens slowly discover self-worth, respect for others, and teamwork under the stern guidance of Lang, the rest of the film dissolves into a teenage DIRTY DOZEN that seems to condone and encourage vigilantism. Major conceptual problems aside, BAND OF THE HAND does feature a solid performance by Lang.

Mildly amusing and as obvious as it is good-natured.

Unfortunately, the result is little more than a glossy parlor trick, a stripped-to-the-bone "Of Human Bondage" recast with two women.

This labored farce relies on an unpleasant collection of stereotypes for its comic effects, and Janger is a singularly unappealing leading man.

Oddly, the most appealing thing about the movie is that in an age of ever-escalating special effects, it's refreshingly low-tech, more like a '70s action movie than a modern-day one.

A clear, unbiased documentary examining of the UNSCOM debacle would benefit anyone attempting to make sense of the dire situation. This, unfortunately, is not that documentary.

All the conditioner in the world couldn't make it shine.

The results are only so-so.

A dumb end to a dumb series of movies that, in retrospect, play like the paranoid ramblings of a religious fundamentalist who sees unholy anti-Christian conspiracies behind every world event.

1941 is loaded with slam-bang sight gags and action, but comedy isn't director Steven Spielberg's forte and the movie isn't nearly as funny as it might have been.

Undeniably entertaining.

It's all pure, brainless fluff, but it's unpretentious and "Wannabe" is damnably catchy.

There's nothing very new or original in this dull sex comedy.

There's nothing under the goofball gags and gushing gore, and its welcome is worn out well before it's over.

Yet another variation on the woman-from-hell subgenre, THE CRUSH fails to come up with many new twists beyond casting a teenager as its villain. Dancing around its own salacious possibilities, the movie is only briefly offensive and rarely surprising.

Isn't nearly as bad as it might have been.

So bewildering it's almost entertaining, this comedy of fiftysomethings and their extramarital affairs is one of those films you can actually see flailing for life.

The film's liabilities include Lustig's excessive reliance on flashy editing, tacky special effects and a blaring alterna-rock soundtrack that's used to make the characters' thoughts and motivations painfully obvious. Among its assets are the clever premise and generally appealing performances.

The occasional amusing one-liner can't compensate for the broad caricatures and awkwardly structured story.

Pinup appeal alone does not a compelling movie make.

Mr. Destiny is by no means a good movie, but James Belushi is unquestionably a good actor, and his portrayal of Larry Burrows almost makes the film worth watching.