Unfortunately, Virtuosity ignores character development in favor of slick set design and mindless action sequences. Consequently, it plays like an outdated video game.

Something to forget about. In this painfully contrived comedy of Southern manners, Julia Roberts's waning star power finally winks out.

Its mediocrity guarantees this lavish, soggy retread of futuristic Australian action classic "The Road Warrior" a place in the ranks of forgotten extravaganzas.

A thoroughly conventional exercise in pop paranoia with trendy appurtenances, The Net has little to offer outside of Bullock's moderately appealing presence.

An exceptionally sturdy cast -- especially Danny Glover as a stern but sensitive captain and Denis Leary as a wisecracking supply sergeant -- manages to keep the one-joke scenario airborne most of the time.

It's a one-note satirical piece, but the pitfalls of indie filmmaking are lovingly portrayed, and DiCillo proves that he can take it as well as dish it out.

Impossible to dislike: It's as good-hearted as its bubbly protagonist.

Genuinely charming, this children's fantasy is the perfect antidote to Pokemon mania: Younger kids should be entranced, while their older brothers and sisters may just pick up on its gentle critique of a movie culture in which action figures and tie-in toys are all-important.

We'll bet you our measly paycheck that UNDER SIEGE 3 is set on an airplane -- although, given the precipitous downward trajectory of Seagal's career, a moped or a pair of in-line skates isn't out of the question.

Frantically busy, largely laugh-free.

Alien meets Basic Instinct in this textbook illustration of what happens when millions of dollars' worth of technical expertise is brought to bear on a cheap, exploitative script.

Despite desperate efforts to sell this umpteenth recycling of the Camelot legend as a Sean Connery vehicle, it's Richard Gere's film and he's not much of a Lancelot.

Curiously empty and instantly forgettable.

This big-screen incarnation of the TV kids' adventure show that spawned a marketing empire is no better than it should be, but it's lively enough to fulfill its primary mission -- which is, of course, to sell more toys.

Overall, Pocahontas is a triumph as a visual experience (though the music is unusually bland), but a disappointment as a film.

At best, Batman Forever is mildly diverting, brainless fun that feels like a long trailer for a better film.

The film has a gentle political edge, knocking Marxists and Christian Democrats with equal cheerfulness, and Troisi's self-deprecating humor, sly delivery, and melancholic charm are inimitable.

Pretty to look at but contrived and somewhat stagy.

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.

The cast is uniformly excellent - particularly the relentlessly effervescent Posey and the imperious Sasha von Scherler, the director's mother - and the modern take on old-fashioned romantic comedy is surprisingly effective.

Robert Waller's inexplicably colossal bestseller is transferred to the screen with more art than it deserves, but neither old-fashioned Hollywood craftsmanship nor the massive star power of Eastwood and Streep can compensate for the story's intellectual slightness and emotional implausibility.

Too disturbing for most children, too suggestive of cornball kiddie fare for most adults, this oddly affecting film is unlikely to capture the audience it deserves.

Let's face it, it's about a dead boy who falls in love with a real live girl. The high-tech animation is completely persuasive; nothing else is.

Keanu Reeves plays a "courier" with a lot of top-secret data stashed in his brain; it's clearly interfering with his minimal acting capabilities, causing several moments of unintentional (but welcome) humor.

A massive, sweaty, frequently silly epic that nevertheless delivers enough brute pleasure to pass a rainy afternoon.

And though the new Little Princess is a far darker affair than the 1939 version, Mexican-born director Alfonso Cuaron doesn't make it anywhere near as drab and moody as Agnieszka Holland's more artistically and commercially successful The Secret Garden.

The third Die Hard film is easily the most spectacular, featuring an exploding subway train and a manic car chase through the congested streets of New York that rivals "The French Connection."

Directed by Hollywood's slickest hack, Tony Scott ("Top Gun"), with a script doctored by Quentin Tarantino--you won't need sonar to spot his contributions.