The devout will no doubt enjoy this picturesque dramatization of an inspirational story many have known since childhood; others may understandably expect something more.

Peter Fonda's cameo appearance is a cute fillip, but hardly worth the wait.

Given Argento's willingness to attempt the controversial book at all, she pulls a surprising number of punches. What at first appears to go too far in reality doesn't go far enough: Argento doesn't even broach the subject of child prostitution.

An $18 million, star-studded disaster film, which in itself is a major disaster.

Combining an interracial friendship with an age-old love story is certainly a worthy idea, but this poorly executed film is riddled with every cliché in the book and then some.

The bar scenes are the only reason to sit through this jello shot of a movie.

fans of this venerable Eurotrash form will welcome any evidence that it's still alive and writhing lasciviously.

So consistently, outrageously wrongheaded in every way it's hard to know where to start.

Rather than remake the entire original movie, Simon West and screenwriter Jake Wade Wall have taken only that now-classic first act and padded it out into a dull, filler-filled feature that's remarkably void of any new ideas.

The humor is forced.

Cool World's numerous plot holes and illogicalities might be forgiven if it had interesting characters or impressive visual effects.

If the characters were more interesting, the long, long buildup to their night of ghostly reckoning might be suspenseful rather than tedious.

The sad thing is that Arnett, Shepard and McBride quickly establish a loose, easy camaraderie that's a real pleasure to watch. The shame is that they're working with such unrewarding material.

Queen Latifah is a natural-born charmer, but there's only so much she can do when paired with a costar so irritating it's hard not to squirm when he's on the screen, which is most of the time.

The novelty value of seeing 17th-century French swordsmen fight like Chinese martial artists doesn't compensate for the film's generally wooden performances and clichéd dialogue.

The story's not much, but this dark comedy contains moments of unexpected wit.

Mean-spirited and depressing, this horror movie in comedy disguise delights in the twin spectacles of morbid obesity and domestic abuse, of which children are often the target.

Director Jack Bender films all this with enough style that Child's Play 3 never becomes overly boring or tedious, and there's some nicely timed tension and comic bits scattered throughout.

Nicely shot around New York City, this dodgy mixture of cutesy romance, dark satire and murder mystery uses the same central conceit as Neil LaBute's "Nurse Betty."

Stiffly animated and featuring uninspired songs.

Frankly, the film's nostalgia for the "coffee, tea or me?" era of flying, when stewardesses were fantasy figures in soaring heels and uniforms tailored for bust enhancement rather than utility, is retro in all the wrong ways.

Though glossy and smoothly directed, this limp concoction has all the sparkle of flat champagne.

Meng's film, which uses a fairly sophisticated flashback structure to reveal the secrets of Ah Na's past in China, touches on a number of very serious subjects: the business of illegal immigration, the exploitation of "aliens" and the treatment of people with AIDS in China. But it's also filled with touches of humor.

Though filled with witty lines, fast-paced overlapping dialog, and screwball situations, this film too often sinks to Police Academy-style stupidity. The only reason Who's That Girl works at all is because of Madonna and Dunne.

Dino De Laurentiis' attempt to cash in on the popularity of JAWS is a total failure.

Pathetic acting and a scattershot plot sink this pitiful attempt by producer Robert Stigwood to turn the landmark Beatles album Sgt. Pepper's Lonely Hearts Club Band into an engaging film.

Only Sol and Sara even approach being real characters; the supporting players, Black and Jewish alike, are shrill stereotypes.

In the hands of a more gleefully provocative filmmaker, this variation on the standard erotic-thriller stew of sleaze, tease and murder, this ludicrous farrago might have been tawdry fun.