Unlike such similar efforts as "A Mighty Wind," this would-be satire isn't funny enough to be entertaining, nor is it clever enough to fool us.

What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance.

Not only doesn't provide any real information, it barely manages to convey why we should care. It represents a true squandering of a potentially fascinating subject.

It uses numerous hoary techniques -- including tabloid-television-style editing and ominous background music -- that tend to detract from the seriousness of the issues being addressed. Morgan Freeman delivers the portentous narration.

Has the feel of a home movie of greater interest to its participants than to an audience.

One of those infuriating comedies that practically nudges you in the ribs while you're watching to remind you how cute and funny it is.

A less than satisfying cinematic experience.

Unfortunately, the film lacks the hypnotizing strangeness of Foreman's best stage efforts and also pales in comparison to cinematic works like Matthew Barney's far more ambitious "Cremaster" series.

An unfortunately muddled portrait of a teenage girl going through a moral and spiritual crisis.

Achieves the dubious distinction of featuring a large gallery of nearly all unlikable characters.

An overly ambitious, overly complex and overly long opus that bites off more than it can chew.

A highly awkward blending of gay porn and political satire, this latest effort from cinematic provocateur Bruce LaBruce ("Hustler White," "Skin Flick") is the sort of film John Waters would make if he were more political, less funny and completely willing to shed all aspirations of mainstream respectability.

The filmmakers are clearly most interested in re-creating the murders in a gruesome and repugnant fashion. It's a shame the film is so exploitative, because Howell and especially Turturro deliver chilling, all too convincing performances.

Although not exactly original in its aspirations or execution, the film's engaging performances and occasional funny moments lift it a notch above the pack of similarly themed fare.

Effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors.

Ultimately a less-than-satisfying cinematic meal.

While those in the know will undoubtedly find something to appreciate in the film's wide-ranging if amateurish stabs at satire, the vast majority will feel left out of a private joke.

A dry compendium of talking-head interviews.

Yet another stylish exercise in depravity in which Huppert floats through the sordid proceedings in a calm haze. If only the film she inhabits was as sexy as it aspires to be.

Lacks the finesse to attract significant attention beyond its target audience.

Doesn't quite manage to elevate its subject to a sufficiently interesting level for anyone who isn't already one of its frequent visitors. A good stroll inside your nearest city park would provide a more edifying experience.

Fails to overcome its hokey script and cliched characterizations.

This Divided State will become yet one more largely forgotten cinematic footnote to an election notable for its divisiveness.

Unfortunately, the screenplay contains little real wit, with the result that the various plot machinations have a strained quality that tends to reduce the proceedings of their intended giddiness. On the other hand, the performers are attractive; there's plenty of nudity; the setting is scenic, and the musical numbers -- well, they're pretty bad.

Repellant to look at and fairly inscrutable, the film does at least offer vivid if at times overly broad performances from the three leads.

Crudely shot and edited, the film is most notable for the strong performances by its two leads.

Director Rupert Wainwright fails to bring any style to the material, not producing a fraction of the suspense or wit generated by Carpenter in the original even while working with a far lesser budget.

The film doesn't have much in the way of genuine laughs despite a plethora of attempted gags, but it does have a geniality that makes it hard to entirely dislike.