Most significant and contrary to the Mormon Church's ongoing position, the film depicts Young as present when the plot is hatched to slaughter the emigrants. Needless to say, this workmanlike but unflinching film won't be playing in Utah anytime soon.

As for first-time feature director Mark Piznarski, he should be cited for excessive use of slow motion, sun-dappled trees and golden light; one more cliche violation and his license to direct would be forfeit.

Pseudo sci-fi gobbledygook aside, X-Files alumni James Wong and Glen Morgan's script is little more than an excuse for Jet Li to kick his own ass, which he does energetically and often.

So silly it's best taken ironically. But the film, much of it shot digitally, is also astonishingly beautiful.

This formulaic mess of sports-movie cliches and self-esteem claptrap contains a couple of funny bits, but you have to slog through a lot of done-to-death bodily function jokes to get to them.

Spin it however they like, the troubled but talented Lohan isn't what's wrong with this misbegotten mess.

Larry Bishop's painfully self-conscious homage to biker films of yesteryear is a carefully crafted pastiche that doesn't miss a wild-deadly-angels-devils-sadists-revenge cliché and can't hold a candle to the down-and-dirty likes of "The Glory Stompers."

The outtakes that accompany the end credits suggest that making the movie was a blast; it's a shame the same can't be said for watching it.

With cheesy special effects (even the volcano isn't convincing, considering the film cost $20 million) and a hole-ridden script, this film offers precious little to like.

Is there anything so painful as a comedy whose every gag falls flat and then lies there, flopping like a dying flounder?

While movies like "The Long Riders" (1980) and "The Great Northfield, Minnesota Raid" (1972) aim to be serious considerations of the outlaws' lives and legends, this picture just wants to have fun.

Every aspect of this film is reprehensible. Stallone's character is an empty hulk; the few attempts to provide us with little insights into his character are downright laughable.

We're treated to endless scenes of women getting slammed, thrown and clothes lined, while men's genitals are grabbed, groped, stroked and tasered. It's all just as painful as it sounds.

All's well that ends well, and rest assured, the consciousness-raising lessons are cloaked in gross-out gags.

Although this entry is competently directed, the series seems to have lost the zip and flashes of wit that made the first Death Wish so memorably repellent.

It's hard to believe that the same man who wrote and directed one of the best horror films of the 1970s, The Hills Have Eyes, could have pulled the same duty on the sequel and come up with a film as shockingly bad as this.

Screenwriter/director Bloom has produced a bad script and his direction of young actors is even worse. Nothing very explicit survives in the final cut, leaving Andrews' grim ruminations on the horrors of a perverted family life obtuse and undeveloped.

Generally regarded as Bronson's worst picture to date.

Enjoyable in a foolish way as Dickey performs amazing acrobatic feats while slicing up dozens of people with her sword. This film constitutes more slick exploitation from schlockmeisters Golan and Globus.

Nielsen's schtick is getting pretty threadbare by now -- his movies used to wring laughs from assaults on his silver-haired dignity, but after years of screen buffoonery, he has no dignity left to assault.

The film features a complete absence of plot, character, drama, comedy and acting.

Children may delight in some of DROP DEAD FRED's fanciful effects sequences, but they're likely to be bored by Elizabeth's grown-up problems. And adults may identify with its self-help message, but the rest is squirm-inducing.

So consistently awful, it's almost entertaining.

Cross an episode of "Friends" with an issue-of-the-week movie about gay parenthood and you have this glossy vanity project.

The supporting cast's comic abilities smooth over many -- if not all -- of the movie's flaws.

Film Ventures International (FVI) specialized in turning out cheap imitations of big blockbusters. When The Exorcist came out, FVI followed it with Beyond the Door; while Jaws was a number one money-grosser, FVI came out with this film, replacing the shark with a 15-foot bear.

The story is a bit predictable and the characters given to restating the obvious (presumably for the benefit of very young viewers), but overall this third Pokemon sequel is surprisingly entertaining.

Two idiots embark on a life of crime to help a deserving teenager attend Harvard in this lowbrow but generally sweet-natured comedy.