MAXIMUM OVERDRIVE doesn't work on any level. As a comedy it's obvious and asinine, as a horror film it's simply not scary, and as an action film it's a bore.

Jam-packed with car smash-ups, predictable situations, and a few stock characters, Moving Violations is nothing more than the cinematic equivalent of a connect-the-dots puzzle.

A worthless attempt to cash in on a lot of sniggering innuendo and crude slapstick.

Conner's screen debut is inauspicious--to put it kindly--in the quality of both his acting and the material chosen, and someone else is obviously doing his riding.

Martial arts fans will find plenty of action to hold their interest here, but those in search of plot and character are advised to look elsewhere.

Congo, adapted by John Patrick Shanley and directed by Stephen Spielberg protege Frank Marshall, is not one of the better silly action pictures set in gratuitously fake jungles and featuring nefarious foreigners, threatening natives, and talking gorillas.

Shot in shades of steely gray and streaked with near-constant rain, this gloomy revenge thriller is a sadistic cartoon.

This is a terrible movie in its own right, tasteless and condescending -- if Sandler's character is an Everyman, than the Everyman of today is a boorish jackass

The Adventures of the Ford Fairlane is an exceptionally well-made film that is everything you could ever want in an Andrew Dice Clay movie; it's vulgar, tasteless, nasty, cynical, and, at times, very funny.

All in all, that's not a bad premise for a lightweight chick flick, but director Gary Winick and an army of three screenwriters can't come up with a single fresh comedic idea.

The movie's gossamer-thin plot, padded with dream sequences and flashbacks to scenes you saw less than an hour earlier, exists only as an excuse for obvious homages to better films, stunt casting...and what pass for clever remarks in circles unfamiliar with real wit.

Unceasingly vulgar and sporadically funny, this revenge comedy rests heavily on the shoulders of former SNL wiseacre Norm Macdonald.

The result is yet another tired, ultimately incoherent horror movie that undoes the promise of its pretty good premise and potentially interesting story structure with dull scares, sloppy ending and a pair of unconvincing, leaden lead performances.

Quite possibly the final word on a much-maligned genre.

Comic Tommy Davidson, in particular, is hilarious as gangsta rapper Puff Smokey Smoke, who falls for Juwanna and then, in a twist lifted directly from the queen of all drag farces, 1959's "Some Like It Hot," decides he still loves her after she's exposed as Jamal. After all, nobody's perfect.

This package of three short films originally produced for German television is sex-themed without being especially sexy.

Plenty of bone-crunching brawn, but not a brain cell in sight.

The acting is lame and the rehashed script is silly. The film drags on and on until its obvious and none-too-thrilling conclusion. This is a film to punish the kids with if their behavior grows intolerable.

The politics get pretty short shrift, but cigarettes and liquor are everywhere.

Fart, feces and gonad gags notwithstanding, this knockabout comedy is no more vulgar than most contemporary children's films, and more good-natured than many.

It's probably just passable for children, but adolescents won't sit still for this bland mixture of mediocre jokes and soft-core action.

Scripted by the extraordinarily prolific John Hughes, directed by Howard Deutch, and starring John Candy and Dan Aykroyd, this disappointing comedy should have been much funnier given the talent of those involved.

Nathanson's script has a disheartening let's get on with it air, and the film feels like marathon training...

Ill-conceived, pathetically realized follow-up to "Saturday Night Fever."

Horror buffs looking for a novel twist on genre formulas should look elsewhere, but this body-count potboiler about a sinister video game and the poor dopes who make the mistake of playing it is the movie equivalent of junk food: It's not good, but it's predictable and even satisfying, in a low-expectations way.

This mean-spirited invisible man movie tries to hide its poverty of fresh ideas behind a load of state-of-the-art special effects.

Despite its provocative premise, this throwback to deliberately paced, low-tech chillers of the pre-CGI era is a dreary slog through haunted-child movie cliches -- portentous dreams, glassy-eyed stares, cryptic pronouncements.

HER ALIBI veers with little purpose from bland drama to heavy-handed slapstick, with rhythm, characterization, and plotting better suited to television than the movies.