Carina Chocano

Morgen's decision to avoid talking heads recounting events and find a way to dramatize them instead is consistent with his intention for the film. The director wants to bring recent history to life for people who weren't around to witness it, and in that he succeeds pretty admirably.

An unexpectedly poignant ghost story.

As sad as it is to realize that youth activism in this country is dead, it's sadder still to find yourself agreeing that they have a point. Just look at what happened to Kurtz.

Charming, bittersweet.

Swicord has a playful sense of humor and a good ear for dialogue, and the movie pleasantly accomplishes what it set out to accomplish.

There's something to be said for cinema this perversely naturalistic.

At its best at its most absurd.

Exciting, distracting and quite possibly permanently concentration impairing, what Pirates of the Caribbean: At World's End offers is a wonderfully scenic medley of impressive action sequences so lengthy, elaborate and numerous that remembering what came before becomes a kind of test of mental focus.

a movie about adolescence unlike any other; An intimate portrait of a singular personality in the making and a stark look at our culture of suspicion and conformity.

The movie is as side-splitting as it is creepy, especially when it ventures into surrealistic nightmare imagery.

The tone of The Witnesses is one of randomness. This makes for an ambling narrative, but an atmospheric one that feels authentic despite its unlikely character pairings.

Turns out to be as simple, friendly, kid-appropriate and nontoxic as any major motion picmerchtainment franchise could ever hope to be.

A wry, charming romance about a New York woman who has given up hope of finding love.

Bharat Nalluri directs with a light touch and a great eye for costumes and sets, which are gorgeous enough to make up for any contrivances in the plot. It's pure romantic fantasy, and you won't believe it for a minute. But it's fun to watch Miss Pettigrew and Miss Lafosse live for a couple of hours.

Robbins plays David with the self-assurance that there's no combination sexier than smart, funny and self-righteously angry.

Sewell and Giamatti ham it up as the imperious pretender to the throne and his ambitious but conflicted minion in this uncheesy but entertainingly tricky mystery. There's more heat between the two of them than between the sappy lovers.

For a film that unfolds mostly in a single location, Interview manages not to feel like a stage piece. But the premise, which may have worked in Holland, gets a little lost in the American translation.

As a niche entertainment catering to an overlooked audience, Boynton Beach Club is remarkable mostly for its optimism and solid performances.

It's too bad that the satire is not more pointed, because Pretty Persuasion is outrageously funny in short blasts, mainly thanks to James Woods at his most gleefully depraved.

Harris, of course, is in a different league from the rest, and his depiction of the tortured writer is remarkably well-realized, considering the nonspecific yet somehow overly familiar inscrutability of the character. Despite its limitations, there's something appealing about the world Rapp has created.

If this strikes some as some kind of gallingly blasé, ostentatious Parisian sophistication, it's far from it.

If the script isn't as well-structured as it could be, the dialogue is refreshingly natural. Kutcher is surprisingly well cast as the awkward, somewhat dorky Oliver, and Peet is charming and charismatic without being cloying or artificial.

A giddy, gassy piece of lunatic fluff that recounts Jiminy's rise to fame. In interviews, Short has described Glick as a moron with power, and in Jiminy Glick in Lalawood, he takes us back to the early days, when he was merely a moron.

For an unabashedly silly spoof of a girly action flick, D.E.B.S. is unexpectedly fresh, thanks mostly to the sweetly exuberant love story at its center.

So good-natured, and its cast seems to enjoy itself so thoroughly, that the total annihilation of disbelief it requires winds up feeling like a reasonable enough request.

The movie is less an uncharted journey than a 2 p.m. bus tour of a music industry legend. But like an expert guide, Mangold shepherds the story with enough grace, energy and skill to make it worthwhile.

Despite the overt message and Manichean universe it pushes, Amu manages some memorable cinematic moments while getting the word out for its cause.

On the whole it feels genuine. Lautner and Dooley are compelling as the sullen, instinctual Sharkboy and the radiant, hot-headed Lavagirl, and it's easy to see why they dominate shy, hesitant Max's dreams.