nerds, geeks, and nose-picking), but this baseball comedy earns a few brownie points for its heart-warming message about including non-athletic kids (i.e. "benchwarmers") in Little League baseball, if only to boost their confidence and give them a moment of ball-field glory. It's a pleasant sentiment intended to encourage under-achievers to feel good about themselves, and that makes this loose-and-goofy vehicle for Rob Schneider, David Spade, and Napoleon Dynamite 's Jon Heder an easygoing time-killer. Parents with good taste should be warned that his movie has no taste at all (it's hopelessly mired in the swamp of fart jokes and juvenile sight-gags), and is there really a need for mild profanity in a movie like this? That s...  (less)

to discover what our fine-finned, furred and feathered friends really think about the issues that are closest to their hearts. It’s a "mockumentary" like none you’ve ever seen, and it could only come from Nick Park and the untamed minds at Aardman Animation!  (less)

which this broad-stroked comedy bears little or no resemblance. The title characters are played by Tim Allen and Jamie Lee Curtis, who decide to skip Christmas because their daughter's in Peru with the Peace Corps. Thus begins a rabid program of enforced conformity when their neighbors (led by Dan Aykroyd) coerce the Kranks into changing their holiday attitude--a change that comes easily when the daughter announces she'll be home for Christmas after all. Imagine if a suburban lynch mob said "Have a Merry Christmas or we'll kill you," and you'll get some idea of what spending Christmas with the Kranks is really like. And if you laughed at the frozen cat, you're probably on Santa's "naughty" list. --Jeff Shannon  (less)

in China ) arrives at an emperor's palace with three weapons, each belonging to a famous assassin who had sworn to kill the emperor. As the nameless man spins out his story--and the emperor presents his own interpretation of what might really have happened--each episode is drenched in red, blue, white or another dominant color. Hero combines sweeping cinematography and superb performances from the cream of the Hong Kong cinema (Maggie Cheung, Irma Vep , Comrades: Almost a Love Story ; Tony Leung Chiu-Wai, In the Mood for Love , Hard Boiled ; and Zhang Ziyi, Crouching Tiger, Hidden Dragon ). The result is stunning, a dazzling action movie with an emotional richness that deepens with every step. --Bret Fetzer  (less)

he's trumpeting (the dialogue sticks to platitudes like, "Success in here is the key to success out there"). Coach Ken Carter (Jackson) takes over an unruly team of Richmond, California basketball players and teaches them how to play--and behave--like champions. His plight, which pits him against an uncooperative school board and parents who've given up hope, holds some interest, but the film is too concerned with giving us a Big Game every twenty minutes or so. The teens all have the spark of life in them (including pop star Ashanti, who features in a surprisingly well-handled teen pregnancy subplot), though the film's plodding familiarity means it's never really rousing, adding up to simply a good-natured amalgam of Stand and Deliver , Hoosiers , Dange...  (less)

into a closet, scarring the boy so badly that he grows up to be blank-faced Barry Watson ( 7th Heaven ), who plays Tim, an editor at a newspaper or a magazine or something. Tim, to impress his girlfriend's parents, wears a coat and tie but doesn't shave his sexy stubble. A premonition of his mother's death drives him back to his childhood home so he can exorcise his phobias. From there...well, there's lots of atmospheric cinematography, regular jolts of loud music, and many quick edits. What actually happens is pretty obscure and, really, not worth unobscuring. The obsession with doors and doorknobs verges on the avant-garde. Also featuring a brief glimpse of Lucy Lawless ( Xena: Warrior Princess ), wearing some truly terrible old-age makeup. --Bret Fetzer  (less)

Marlon and Shawn, and director-cowriter Keenen Ivory) some slack and at least try to answer the obvious question, what were they thinking? For the sake of charity, let's ignore charges of reverse racism that plagued this would-be comedy about a pair of FBI agents (Marlon and Shawn) who go undercover as over-privileged white debutantes to thwart a kidnapping scheme, and let's allow that comedy--not social satire--is the Wayans' top priority. If you can get past the fart jokes, the freakishly unconvincing "white chick" makeup, seemingly endless gags about "white chicks" getting hit on by lusty black guys, and a plot that really doesn't matter at all, you just might find a laugh or two in the Wayans' attempt to understand women through a bit of frien...  (less)

action with the advantage of really fantastic special effects, and if you expect nothing more you'll be one among millions of satisfied customers. There's really no other way to approach it--you just have to accept the fact that Independence Day creators Roland Emmerich and Dean Devlin are unapologetic plagiarists, incapable of anything more than mindless spectacle that can play in any cinema in the world without dubbing or subtitles. The whole movie plays out like a series of highlights stolen from previous blockbusters of the 1990s; it's little more than a rehash of the Jurassic Park movies. The derivative script is so trivial that it's unworthy of comment, apart from a few choice laughs and the casting of Mic...  (less)

to simultaneously provoke imagination and masturbation), the film has since become the most popular single title in Columbia/TriStar's entire film library. That's an amazing fact considering just how silly and senseless the movie really is--an aimless, juvenile amalgam of disjointed stories and clashing visual styles, employing hundreds of animators from around the world with a near-total absence of creative cohesion. It remains, for better and worse, a midnight-movie favorite for the stoner crowd--a movie best enjoyed by randy adolescents or near-adults in an altered state of consciousness. With a framing story about a glowing green orb claiming to be the embodiment of all evil, the film shuttles through eight episodic tales of sci-fi adventure, each fueled by ...  (less)

West lightly dusted with camp humor, they're periodically called upon to nimbly dodge bullets and fireballs through outrageously choreographed displays of Hollywood pyrotechnics. In this bigger-budget semi-remake/semi-sequel to Rodriguez's indie sensation, El Mariachi (made, famously, for $7,000), Antonio Banderas is the darkly charismatic El Mariachi, the Mysterious Stranger in town; Steve Buscemi is perfectly cast as his weasely, motor-mouth Comic Sidekick, laying the groundwork for El Mariachi's entrance by spinning saloon stories to build up his legend; Cheech Marin is a standout as the Bartender, who really knows how to handle a toothpick; and gorgeous Salma Hayek is, well, the Girl--treat...  (less)

sheltered existence spins out of control. It's "Risky Business" meets "American Pie" (Premiere Radio Networks) in this "titillating, laugh-out-loud funny comedy!" (US Weekly)  (less)

skate punks in their Germs and Sex Pistols T-shirts. Then they left Epitaph for Columbia. Their catchy pop-punk-metal sound, in the vein of Social Distortion and Green Day, didn't really change, but by "Gone Away," Dexter Holland had traded in his cornrows for a spiky 'do and patent leather shirt. (No wonder some fans felt abandoned.) Fortunately, the band learned from their mistakes and toned down the new wave look by the next video, "The Meaning of Life," where they race across the desert in wheelchairs, Mad Max -meets- Murderball style. Other highlights include "She’s Got Issues" with Zooey Deschanel and "Pretty Fly (for a White Guy)" by McG, who created The O.C. . --Kathleen C. Fennessy  (less)