Quite simply, It Takes Two is just too cute for words.

Sophie's Choice is a handsome, doggedly faithful and astoundingly tedious adaptation of William Styron's best-seller.

Director Curtis Hanson makes a commendable effort with a rather obvious story about three teenage boys who head for a wild weekend in Tijuana, hoping to trade hard cash for manly experience.

Francis Coppola has made a well acted and crafted but highly conventional film out of S.E. Hinton's popular youth novel, The Outsiders.

When the underdog always wins he's not much of an underdog anymore, and the narrative cartwheels Sylvester Stallone has turned over the years to put Rocky in that position have peeled away the novelty.

Unswervingly sincere and dramatic without surprise or revelation, screenwriter Joe Eszterhas' longtime pet project may be personal, but it offers little to audiences that hasn't been served up in quantity in the past.

Children should love the film and adults will be dismayed by the light brushstrokes with which Paul Reubens (one of three credited screenwriters, but star-billed under his stage name, Pee-wee Herman) suggests touches of Buster Keaton and Eddie Cantor.

The expensive new version of Flash Gordon is a lot more gaudy, and just as dumb, as the original series starring Buster Crabbe. Sam J. Jones in the title role has even less thespic range than Crabbe, but the badness of his performance is part of the fun of the film. Jones, a former Playgirl nude centerfold whose only previous film role was the husband of Bo Derek in 10, lumbers vacantly through the part of Flash Gordon with the naivete, fearlessness, and dopey line readings familiar from the 1930s serials. Film benefits greatly from the adroit performance of Max von Sydow as Emperor Ming.

Territory is typical small town Steven Spielberg; this time set in a coastal community in Oregon. Story is told from the kids' point-of-view and takes a rather long time to be set in motion.

A fitting final installment in Terry Gilliam's trilogy begun with Time Bandits and continued with Brazil, The Adventures of Baron Munchausen shares many of those films strengths and weaknesses, but doesn't possess the visionary qualities of the latter.

Result is far more accessible than Jia's previous two pictures, with moments of genuine emotion by the real-life interviewees.

This vapid street-dance soap opera boasts the series' flashiest moves and klutziest script yet, like a brilliant acrobat with a speech impediment; it's also one of the few 3D releases since "Avatar" to make compelling use of the format.

Bruckheimer's passably enjoyable, antiquity-themed epic should satisfy its young male core demographic well enough, but won't connect with other auds on the level of Bruckheimer's "Pirates of the Caribbean" franchise.

How much mileage can a comedy get from a single joke? Quite a bit, judging from the guffaws-to-groaners ratio in MacGruber.

The Losers is the sort of pyro-heavy exercise parodied in "Tropic Thunder," and no amount of production polish can hide the hollowness beneath its junk-food high.

Well-acted, sharp-looking pic seems more interested in sitcom diversions.

A slowly inspiring saga of blood, sweat and horse dung, played with conviction.

Sheds valuable light on a complex period of post-World War II Czechoslovakia.

Filmmaker Hartmut Bitomsky needs nothing more than the cold facts surrounding this awesome weapon to get across a message about the importance of peace.

A sibling survivor story of uncommon personal and political breadth.

"It's the ultimate Dogme movie, before the birth of Dogme," is how 79-year-old Lithuanian-born independent mainstay Jonas Mekas describes peaceful, enthralling assemblage encompassing home movie footage from last three decades of his life.

Israeli filmmaker Loevy questions in voiceover whether one can ever really see the other's side, and the strain of this divide is felt in over-dramatic attempts to highlight individual victims.

Another satirical view of the everyday insanity of working within the Industry, slickly made New Suit adds no special insight to the subgenre.

Sometimes wavers, but its stylistic unevenness is trumped by its topicality.

Scheide's feature never quite seizes the potential for full-on "Stepfather" thrills or "Serial Mom"-style black comedy, leaving pic diverting but too mild.

The docu, serving up interesting insights into the unique restaurant culture of NYC, should prove appetizing in urban venues.

Its unvarnished look at life in the slow lane exerts a hypnotic fascination that could hook reality mainliners.

Though the characters are not particularly interesting in themselves, their dynamic remains consistently engrossing.