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No matter that the film felt lumpish and witless, I have to say that the kids at the preview laughed a lot.

There are just enough effects-driven laughs but a bit too much talky dead space in this not-at-all-anticipated sequel to the tepid, poorly animated 2001 film.

The most notable aspect of this trashy (but unenjoyable) biopic of Jacquleine Susann, Valley of the Doll's best-selling author, is its running time (93 minutes); Bette Midler and Nathan Lane give two of their worst and broadest performances.

The filmmakers don't know what to make of their overblown subject.

On the basically farcical level where it chooses to stay, it is a funny and likable movie.

Although it is more of a comedy of manners than a well-developed story, there are enough yocks and bright moments to make it a thoroughly enjoyable outing.

Ruthless People is a hilariously venal comedy about a kidnapped harridan whose rich husband won't pay for her return.

A pity that the directors prove less ruthless than their own creations, but there is more than enough here for people who enjoy murder attempts on cute pet poodles.

Diane Keaton is at her best here, Goldie Hawn has never been this good, and we know going in that Bette Midler is virtually tailored to a raucous farce about the sweet revenge of spurned spouses.

Reiner benefits from divine intervention from no less than Miss M herself. Bette Midler flings the usual zingers with fang-baring zeal in a part that plays to her brassy strengths.

Engaging, undemanding stuff.

Midler and Long are never less than fun to watch.

The film's oily overdefinition of various class and cultural categories is strident enough to betray a condescending attitude toward the audience.

Unexpectedly sharp, light and appealing; a testament to Hunt's skills behind the camera.

It's a glum and amateurish business on the three-in-one subject of adoption - being adopted, having your child adopted, and adopting one.

This grating family comedy resembles a sitcom in its flat lighting, patronizing music cues, and frames supplying little visual information apart from the actors' mugging faces.

One of those intergenerational embarrassment comedies in the Meet the Fockers line, where children can enjoy seeing grown-ups looking ridiculous.