The words of the opening song pretty much describe the menu in A Funny Thing Happened on the Way to the Forum--"Something familiar, something peculiar, something for everyone: a comedy tonight!"--a frantic adaptation of the stage musical by Larry Gelbart and Burt Shevelove. The wild story, based on the Latin comedies of Plautus and set in ancient Rome, follows a slave named Pseudolus (Zero Mostel, snorting and gibbering) as he tries to extricate himself from an increasingly farcical situation; Mostel and a bevy of inspired clowns, including Phil Silvers, Jack Gilford and Buster Keaton, keep the slapstick and the patter perking. The cast also includes the young Michael Crawford as a love-struck innocent.

This project landed in the lap of Richard Lester, then one of the hottest directors in the world after his success with the Beatles' films. Lester telescoped the material through his own joke-a-second sensibility, and also ripped out some of the songs from Stephen Sondheim's Broadway score. The result is very close to the vaudeville spirit suggested by the title--though anyone with a low tolerance for Zero Mostel's overbearing buffoonery may be in trouble. Oddly enough, amid all the frenzy, Lester creates a grungy, earthy Rome that seems closer to the real thing than countless respectable historical films on the subject. Frankie Howerd, who played Pseudolus on the London stage, kept the tradition going with his Up Pompeii TV series. --Robert Horton

A Guy Thing wants so desperately to be a funny thing that it turns into almost nothing at all. This movie is like an annoying party guest who won't go home, although the most loyal devotees of Julia Stiles and Jason Lee are sure to get a few good laughs. Lee is awkwardly cast (and costumed) as a husband-to-be who's about to discover he's fallen in love with the free-spirited cousin (Stiles) of his comparatively straight-laced fiancée (Selma Blair). When all the who's-who gets figured out, this decidedly unromantic comedy shifts into autopilot with Lee trapped in a rote series of compromising positions. Every outcome is telegraphed far in advance, and true love takes its course with numbing efficiency. Lee barely squeaks by with his dignity intact; the fact that Stiles emerges buoyantly unscathed is further proof that this beguiling actress is deservedly a star on the rise. --Jeff Shannon

It's a wildly irreverent day in the life of the world's great rock 'n' roll band! As they prepare for a big TV appearance, the Beatles perform their songs, look for adventure

A peasant squire takes up the identity of his master when the knight suffers an untimely demise. The film is set in the past, but cleverly uses modern music and techniques to tell the story.

Penny Marshall's popular 1992 comedy sheds light on a little-known chapter of American sports history with its story of a struggling team in the All-American Girls Professional Baseball League. The league was formed when the recruiting of soldiers during World War II resulted in a shortage of men's baseball teams. The AAGPBL continued after the war (until 1954), and Marshall's movie depicts the league in full swing, beginning when a savvy baseball scout (Jon Lovitz) finds a pair of promising new players in small-town Oregon sisters (Geena Davis, Lori Petty). The sisters are signed to play for the Rockford Peaches near Chicago, whose new manager (Tom Hanks) is a former home-run king who wrecked his career with alcoholism. They're all a bunch of underdogs, and Marshall (with a witty script by Lowell Ganz and Babaloo Mandel) does a fine job of establishing a colorful team of supporting players including Madonna and (in her movie debut) Rosie O'Donnell. It's a conventional Hollywood sports story (Marshall's never been one to take dramatic risks) but the stellar cast is delightful and the movie's filled with memorable moments, witty dialogue and agreeable sentiment. --Jeff Shannon, Amazon.com

This is a surprising disappointment, considering it is the third film from director Danny Boyle, writer John Hodge and actor Ewan McGregor. This disjointed and strained romantic comedy is not even near the same league as Trainspotting and Shallow Grave. Cameron Diaz is a spoiled heiress and McGregor an aimless janitor brought together by two angels (Holly Hunter and Delroy Lindo) hoping to hang onto their wings. McGregor kidnaps Diaz, the boss's daughter, after being fired from his crummy job. She is not all that averse to being snatched. Most of the laughs are lost to a scattershot story that feels preposterous instead of magical. --Rochelle O'Gorman