Clearly designed as a cult film, this messy trifle is not without its charms. These include the affably weird Goldblum, Lithgow's deliriously overstated mad scientist, and a band of alien invaders who are not emissaries of a vastly superior race, but beer-swilling mediocrities in Hawaiian shirts.

If this new film seems less prescient than its predecessor, it's only because reality is rapidly catching up with Cronenberg's warped imagination.

But good intentions aside, Tucker and codirector Petra Epperlein only further confuse the issue: Their rap-video stylings and use of non-source music create the impression that you're watching characters trapped in a Tom Clancy Xbox game.

Maybe not Oscar material but a very enjoyable piece of entertainment.

It's a lavish entertainment that revels in lurid colors and yet more lurid emotions.

The film loses steam, sabotaged by Joshua Logan's too-obvious direction and receiving little help from a score by Lerner and Loewe that remains one of their minor efforts.

This animated children's film focuses on a unicorn and her mission to free the rest of her breed from the tyranny of an evil king.

Their scheme involves causing a major traffic jam in the middle of Turin, Italy, which allows them to steal gold ingots from an armored car. The gold is then stashed in a bus, and the predictable chase ensues.

It's a show we don't see, presumably because of issues with music rights, and while "much ado about nothing" might be overstating things, after more than an hour and a half of buildup, it would have been nice to see Wu-Tang perform.

THE BAREFOOT CONTESSA is marked by Mankiewicz's sharp wit--sometimes too much wit. When there is one character cracking wise, fine. When you have two, okay. But when almost all the characters sound as though they were sitting around the writer's table at the MGM commissary, suddenly credibility goes out the window.

Though the film verges on hagiography, Angio unearthed a treasure trove of fascinating clips, from the bored-looking writer-director leafing through his program at the 1971 Tony Awards.

Both Russell and Winger give solid performances, and the memory of the complex interplay between their ultimately not-so-very-different characters lingers long after the film has ended.

Deftly manages to avoid many of the condescending stereotypes that so often plague films dealing with the mentally ill.

Like the violence in Alan Clarke's Elephant, the BBC documentary about Northern Ireland from which the film takes its name, Van Sant offers no straightforward reasons for what happens at this particular school. The explosion of violence is far from unmotivated, but its roots are presented as deeply personal and, even more troubling, ultimately inexplicable.

Bernal continues to demonstrate an impressive range; the character requires the normally laid-back actor to be a wild ball of energy, and he's more than up to the challenge. His performance is hilarious, heartfelt and more than a little creepy, which could also be said about the movie itself.

The result is a bittersweet trifle one can conceivably fall in love with, and Honore's best film so far.

There is, however, considerable humor to what might have been an exceedingly grim film, and most of it comes courtesy of Mona's slippery brother, Marwan (Ashraf Barhoum).

Like so many true stories, Comes' lacks the clarity and comforting resolution of fiction

Satisfies the heart and engages the mind.

A sickly soft-swirl confection of low laughs and smarmy sentiment.

Though it lacks Alfred Hitchcock's wry and macabre sense of humor, DEAD CALM is a cracklingly good, cold-blooded film that never lets up in its truly Hitchcockian suspense. Under the gripping direction of Phillip Noyce, the film sustains tension and power beautifully, right through to its startling conclusion.

Thin story collapses under the leaden star chemistry; capable supporting players can't save this dud.

Style oozing from virtually every frame.

The script is spiked with cheeky, occasionally hilarious encounters, like the trio's stroll through a lazy Outback town in flamboyant space-age drag, or Bernadette's deliciously unprintable riposte to a hostile woman in a bar.

But it's also old-fashioned family drama that invites audience participation ("Don't you go making eyes at your cousin's husband, you little slut!"), and is surprisingly satisfying, in a gooey kind of way -- like macaroni and cheese or peach cobbler, perhaps.

A powerful and complex performance by Connery is somewhat weakened by Lumet's typically stiff and stagey direction, which tends to sap the life out of the film.

Seeks to set the record straight. But Gere's sneaky, ingratiating presence keeps it dishonest to the last frame.

Impassioned, unwieldy and padded with celebrity interviews.