While handsomely mounted and generally well acted, the film is undermined by long stretches of awkward, obvious dialogue and by the vagueness of Lisa's revolt against the status quo.

Noisy and obnoxious, this flashy action picture is so hell-bent on seeming smart that it fairly forces you to think about how fundamentally stupid it is.

Despite excellent performances all around, the actors can't overcome the script's limitations.

The year's most eagerly anticipated green-eyed monster finally rears its ugly head, not with his trademark radioactive roar, but a deafening yawn.

Hudson and Wilson share a natural and easy chemistry that helps compensate for the Cuban-mobster subplot.

The result is sheer, unadulterated nastiness with no apologies.

This movie is a compendium of every element in every inane teenage movie you've ever seen. The only reason anyone would watch it would be if they were being punished or were suffering from a heretofore incurable case of insomnia.

Ippoliti's sharp cinematography helps salvage this below-par production.

In all fairness, there is a lot of camp value here. Fans of truly bad cinema couldn't ask for a sillier big-budget production--envisioned with the utmost seriousness.

Director Hyams tries desperately to evoke the feel of the best of the 1940s wartime romantic dramas but, despite solid performances from the leads, his screenplay is predictable and trite, leaving the audience little to look forward to.

Despite several bad or indifferent performances, though, the film does succeed in its primary goal, to provide 90 minutes of fast-moving and fairly exciting action.

For a family-friendly holiday comedy, it's still coarse, formulaic and occasionally just plain weird.

Melodramatic look at alienated California high school students.

Sexist, plot-hole-riddled movie equates women with cows and men with bulls.

Although not what American studios generally mean by "family fare," this drama is actually excellent family viewing -- it both opens a window onto another culture and, through Antonio, speaks the universal language of teen angst.

This film is really blatant right-wing propaganda loaded with a stunning amount of racial and political stereotypes.

The premise of TROOP BEVERLY HILLS might have worked as a comedy skit, but could hardly sustain a feature, and unfortunately the premise is virtually all the film's screenplay supplies. The lack of character development is particularly damaging for Long--since her character never becomes more than a cartoon, her reformation is never credible.

The plot is simple, allowing Polanski great freedom to play with his characters and to give his audience rousing fight scenes. Although the film is a bit slow and talky in spots, it fills the long-ignored gap in Hollywood-style swashbuckling pictures.

While the homeless, the mentally ill and the generally downtrodden are scattered about like so much shabby furniture, Rifkin has no qualms about wallowing in their filth, but he misses the tragedy of their lives -- just as he misses everything else.

With scenes that must surely rank among the most revolting ever committed to film.

The Country Music Channel's first foray into feature filmmaking is sickly sweet and thoroughly predictable, and woefully underuses veterans Harper and Reynolds, but it features some stirring performances, including BeBe Winans and Willie Nelson dueting on "The Uncloudy Day."

Even worse than its hypocrisy, gratuitous homophobia and cheap proselytizing, the movie is dull.

The film continually leans towards intelligence and even poignancy but then gives way to pretty pictures and nonsensical fluff.

The downside is that it all feels like a big in-joke, and you're not in on it.

The lame and apparently tacked-on ending (which seems to crib footage from 2000's "Gladiator"), suggests the rather terrifying prospect of a Roman-era sequel. Five words: Be afraid, be very afraid.

This one makes De Niro's recent film "15 Minutes" look like "Network." Even worse, aside from a few scenes with Shatner, it just isn't funny.

There's no denying the freak-show appeal and you don't see frontal nudity like this on TV, but otherwise it's all as contrived and artificial as "Survivor."

Take out the weak acting and what's left in this sequel to Enter the Ninja is a fairly good display of martial arts.