West delivers the emotional goods when tragedy strikes in the final reel. If 17-year-old pop star Moore isn't a skilled actress, she's at least unassuming.

Accomplished yet uneven feature.

A spirited re-creation of the series that once ruled Saturday mornings.

Meandering.

Clichéd though it may be, this movie was clearly made with love.

The Story of Luke is a charming little film in need of a bit more grit.

This time, Zombie doesn’t appear to have many deep thoughts, so Michael doesn’t just stab his victims, he slices and chomps them into gooey pulp -- an overkill motif that actually feels false to the character and quickly becomes a depressing bore.

While the final revelation is laughably absurd, DeNiro and Fanning are so far inside their roles that one can't giggle for long.

The film moves in fits and starts, and is way too long, but it may prove memorable, if only for the sweet, marvelously inventive performance of Kevin James.

Stuck with flat material and a star more adept at responding to humor than generating it, director Stephen Herek, in a vain attempt to generate laughs, enlists Cedric the Entertainer, as a convict-turned-preacher.

As producer, writer and star of his first movie, Ray Jahangard gets points for confidence and nerve, but at the end of the day, it must be said that not everyone is meant to work in the movies.

Initially amusing, ultimately wearying mock documentary.

Leitman has unearthed a terrific collection of vintage footage - yet, as if doubtful about holding our interest, she skims too quickly over the historical background.

The final match stirs briefly, but when it's over, the movie's energy crashes right back down again. Disappointing.

The best news here is Adrienne Barbeau, the 1970s TV star and B-movie queen (Swamp Thing), who invests the role of Anthony's aunt with a worldly-wise sensuality that suggests a long-lost cousin of Tony Soprano.

The finale goes on and on, but the movie is nicely photographed (by John Bailey) and duly empowering, and should please the vast teen-girl audience for which it's intended.

For this viewer, the climactic scooter-gang rumble, heavy on plot twists and empowerment speeches, felt eternal, but for many, the happy silliness of the film's first half should carry the day.

Diaz and Collette are believable as sisters, but their performances rarely surprise -- in a more interesting movie world, they'd have switched roles.

Has no stylistic flair and little forward momentum, yet nearly every scene contains an amusing bit of business, much of it off to the side of the main action.

This crazily ambitious film is saddled with a musical score that's often jarringly jolly and a screenplay so busy jumping from platoon to platoon that no single story ever takes hold. Yet, all is not lost. The photography and period detailing are excellent, and Taub, who displays real feeling for the innocent bystanders of war, finds the occasional small, surprising moment.

In this serviceable remake of the fondly remembered 1959 Disney comedy (which starred Fred MacMurray), an impressively dexterous Tim Allen plays Dave Douglas.

A debut film that's more well-intentioned than funny.

While some may bail early, those who stay to the end are likely to dwell on Zahedi's unwavering (some would say unrelenting) belief in his own artistry, as well as the film's many funny, quotable lines.

The Sisters may be worth a look, however, for the work of the magnificent Bello and Tony Goldwyn, who's never been better than as the married man with whom Marcia has an affair. Their final clench is pure, guilty-pleasure melodrama, which means it's not the least bit Chekhovian.

Formulaic but innocuous little movie's one clever moment, a sing-off between choirs standing on their respective church steps, trying to lure in Sunday-morning worshippers.

The final meet felt eternal to me, but little girls may love it all, and even if they don't, they're almost sure to practice their handstands when they get home.

actor-turned-director Kevin Bacon (Sedgwick's husband) can't seem to decide if he's making a film about a loving eccentric or a sociopath.

Gibson and Good deliver such emotionally honest performances that we wish them a happy ending, no matter how many movie clichés have to be trotted out to get there.