Ed Park

Less effective in dramatizing the choices facing second-generation Indian Americans than as a showcase for Sheetal Sheth's terrific hair.

Chad Friedrichs's doc has too many rock-crit talking heads, too often saying the same thing based on scant information -- a clumsy portrait of the artist that inadvertently serves as a mirror of the critical faculty itself.

Patient and fascinated, but never succumbing to abstraction, Wheel of Time can be seen as the middle installment of a trilogy against nature.

It's about following your dreams, no matter what your parents think. Socrates motions for hemlock.

At least Macht emerges relatively unscathed from the mess, content to brood and mutter self-loathing observations while Johansson and (most painfully) Travolta spoon their Southern accents out of a jar and spread it all over the humid scenery.

CCM's dissipated endgame borrows soggily from "The Ring," resulting in something that wouldn't make it past the first script meeting for Scary Movie 4.

So true to its title that I've forgotten many of the details already--and I just saw it this morning. This latecomer has been rendered completely obsolete by “Memento.”

An anti-"Rififi" in which nearly everybody loses their cool, not after the big score goes down but repeatedly and neurotically throughout.

Washington is in default dignified mode here. He capably embodies the hero's transformation from doughy dad to man of action, amid the movie's shameless button-pushing and cheap religious overlay.

An unstoppable good-mood generator, the resolutely 2-D SpongeBob SquarePants Movie has more yuks than "Shark Tale" and enough soul to swallow "The Polar Express" whole.

Danny Boyle's Millions is not what we'd expect from the "Trainspotting" and "28 Days Later" director. It's essentially a gentle, kid's-eye parable.

Taut even when ridiculous, with flashes of comedy, 3-Iron has less to offer than its predecessors, but at minimum it's the playful exhaustion of a formal constraint.

If The Last Man were the last movie left on earth, there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows.

Convoluted but diverting.

If music be the food of love, Cool & Crazy could stand a few more hits from the spice rack.

The story has too many characters, about whom we know too little.

Though the film lacks some of the paper incarnation's subtlety, Dai's infidelity to his own text keeps things interesting. He busts the book's brief time frame, tweaks countless plot points, and tops it all off with a titanic metaphor not found in his own pages.

"Sopranos" vet Dominic Chianese is squandered as a banal father confessor.

This poorly conceived sequel to Gore Verbinski's "The Ring" ditches that film's scariest conceit.

When it comes to the "humans," the atmosphere collapses. Unnervingly smooth, mouths moving in strange, even frightening formations, the Polar people are the least convincing things on-screen, glaring impostors amid the otherwise painstakingly rendered scenery.

The leads smooth over the plot holes endemic to all 4D fables, making the movie more than mere déjà vu.

Jessica Yu's elegant new doc In the Realms of the Unreal is a spry, creative response to his (Darger's) oceanic talent and claustrophobic life.

As earnest as a community-college advertisement, American Chai is enough to make you put away the guitar, sell the amp, and apply to medical school.

Bledel, consigned to corsets and croquet, looks so weepy for much of Tuck Everlasting. The reason might lie in a script that favors the starchy demands of period melodrama over her TV show's fizzy screwball banter -- or maybe it's just William Hurt's embarrassing brogue.

The self-consciousness is unintentionally touching, but it wet-blankets the film into a thirdhand lark.

This mockumentary in which a group of failed Brooklyn rappers switch gears after listening to the Beatles wears out its welcome quicker than the shortest track on "The Grey Album."

This latest and biggest installment is a whimsical success of a very high order: The pace never lags, the invention is incessant, and it makes you want to have a bite of cheese afterward.

It's all an excuse for some daft production numbers, however, and a chance to relive the vanished Holland of your youth. Yes Nurse? No Nurse? Maybe Nurse!