Another ludicrous Ashley Judd thriller, and one that makes Double Jeopardy look like a model of logic. This time Judd plays a disturbed seductress who murders men because she was abandoned by her dad as a little girl. Ewan McGregor plays the high-tech detective who chases down Judd and who also happens to have lost

The comedic version of David Lynch’s Mulholland Drive, this Hollywood-fed pulp mystery comes from late ’80s, early ’90s screenwriting king Shane Black (Lethal Weapon), who makes his directorial debut by spewing whatever comic bile has been building up in his brain since his glory days. As Robert Downey Jr.’s thief gets caught up in a

This computer thriller, about a criminal mastermind (John Travolta) and the oh-so-hip hacker he corrupts (Hugh Jackman), showcases Hollywood at its most soulless. Full of nasty, empty attitudes and overblown, callous action, it even manages to drain the charisma from Travolta (who once again overacts while playing the bad guy). Also featuring Halle Berry’s breasts.

The middle 40 minutes or so of Out of Time offers some thrillingly intense moviegoing. Too bad its bookends are complete nonsense. The film stars Denzel Washington as a police chief who becomes wrongly implicated in a double homicide. His desperate attempt to stay one step ahead of the investigation has the claustrophobia of a

Brittany Murphy is full of tics – the acting kind – as a psychiatric-hospital patient with a secret in her head. There’s a convoluted suspense plot somewhere here – mainly involving a psychiatrist (Michael Douglas) whose daughter is kidnapped, with the ransom being the troubled girl’s secret – but Murphy’s wildly mannered performance (scratching walls,

Stay wants to be a cinematic puzzle, but watching it is like watching someone elaborately scatter a puzzle’s pieces across a table. The film never delivers the satisfaction of getting two pieces to click. As such, it’s difficult to get too involved by Dr. Sam Foster (Ewan McGregor), a psychiatrist treating a suicidal patient (Ryan

Vertigo is too fussy and hermetic to be the best film from Alfred Hitchcock (that would be Rear Window), yet it certainly is his defining picture – the one that reveals the obsessiveness at the center of his art. Kim Novak is the center of obsession as Madeleine, a suicidal San Francisco socialite who is

Dreamcatcher begins as one thing, turns into something else and then becomes something completely different. None of them are any good. A clumsy adaptation of a Stephen King novel, the movie involves – among other things – alien worms, boyhood pals, telepathy, secret government forces, extreme intestinal irritation and the defiantly bushy eyebrows of Morgan