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The result isn't very funny, and its sexual politics are as muddled as you'd expect, but Faris is sweet and likable as the sort of wise dumbbell Judy Holliday used to play.

For all Faris's buoyancy, this is nowhere near as good as Legally Blonde, or all the other vaguely grrl-power teen movies it mimics.

The best of the 10 segments is, perhaps predictably, the rare one without lofty pretensions.

I am not sure that any indispensable statement about opera has been made here, and purists will no doubt recoil by the irreverence of some of the images. But the film is fun almost as a satire of itself.

The subplots involving D'Angelo and Newton and Ethan Embry -- the Griswolds' son, who can't stop winning -- have their charms.

A tepid fourth entry in the popular 1980s series that is decidedly showing its age.

Clearly a labor of love, this sophomore effort from Turturro (a better actor than helmer), about fables and foibles of a tightly knit acting troup at turn of the century New York, is structurally messy and unevenly acted; a step fown from his debut Mac