Elizabeth Weitzman

Weitz takes a looser approach than the series’ last director, Catherine Hardwicke, did. He has a better sense of humor, too.

It would have been helpful had Smith put his words into some sort of context, allowing others to assess his theories. Instead there's simply Ruppert, talking, raging and warning, as if his very life depended on it.

In Hollywood, all is forgiven if you can deliver the goods. On-screen, at least, there’s little difference between this Gibson and the one we remember from earlier films like “Ransom” and “Payback.”

Overly reverent but still immensely touching.

The Rock commits himself admirably to this trite tale, but by the end, even his enormous shoulders buckle under the weight of so many clichés.

The beautiful black-and-white photography - and disappointingly sappy ending - are the only remotely sober elements here, thanks to Besson's loopy script and Debbouze's very funny turn as a loser who simply can't believe his luck.

Anyone with a fondness for the midcentury cartoons and films that inspired this scrappy comedy will appreciate the latest trip to the titular British boarding school.

Li's performance is stronger here than it has been in previous films.

The story is compelling, but Metropolis is such a visual masterpiece, it's easy to get lost within its seemingly endless layers of graphic complexity.

A classic Michael Bay mega-movie. Interested in plot and character development? Move along. You're blocking the view.

Wahlberg is surprisingly committed to the ridiculousness.

Likable Lohan doesn't exude the vulnerability that would give the movie true heart, and Fey, head writer for "Saturday Night Live," crafts better punch lines than plots.

Where the first film was a seminal forerunner of early stalker classics like "Halloween," this version feels as stale as old gingerbread.

Despite its desperate attempts to appeal to every possible age group, there is no obvious audience for this movie.

Though buoyed by excellent, unflinching performances, this melancholy drama reflects the dismally monotonous lives of its subjects just a little too well.

Filmmakers Vardit Bilu and Dalia Hagar don't seem as interested in taking sides as they do in exploring universal themes.

Exhilarating.

A cheerleader spoof that starts rousingly, but ends up nearly as shallow as its easy-target subjects.

When these two powerhouse performers come together, a rather predictable tale ignites with surprising force.

A sweet, if slender, surprise.

The plot is woven from minutely observed details that beautifully evoke a rarely seen world.

Striking naturalism and blatant dishonesty blend awkwardly in this bleak drama.

Paul Auster's suffocating romance makes you feel as if you're helplessly stuck inside the head of the most pretentious person you know.

A decidedly lightweight amusement.

Geraghty relies too heavily on facial expressions and mannerisms, but those who appreciate visible effort may be seduced. There's no denying he works hard to keep us on the line.

Many witnesses offer emotional recollections of the ensuing riots, but equally powerful moments come courtesy of old footage, in which anti-gay "experts" expound with a confident ignorance that sounds chillingly familiar even today.

Those who need little more than a car chase, gunplay, pretty girls and a solid soundtrack will be entertained. And Ice Cube fans won't be disappointed. Everyone else may want to think twice before shelling out hard-earned dollars.

There's nothing here but a messy lump of coal.

The cinematic equivalent of a cookie-cutter wedding, Made of Honor ultimately feels a little depressing.

Since Alfred Hitchcock set the standard for strangers-on-a-train thrillers, Anderson has a lot to live up to. He falls short of creating a new classic, but he does manage to keep us on edge for most of the movie.

Who knew? Turns out, Jean-Claude Van Damme is a funny guy, and a pretty good actor, too. Fans may already be aware of this, but JCVD is likely to introduce a whole new Van Damme to everybody else.

Saintliness is a heavy burden to carry, and Smith can't help but buckle a bit. He's always interesting to watch, but crafting a real person out of his cardboard character proves an impossible task.

Shane Acker's underwritten but beautifully animated debut is both an ode to technology and a warning against it. Perhaps unintentionally, the film itself echoes those themes.

The film never builds past its initial idea, the references to 9/11 feel cheap, the good actors are wasted, and the bad ones are distracting.

A fun project that doesn't quite reach its potential, Josh Koury's doc is still worthwhile for anyone who can't wait until 2009 to see Harry Potter back on the big screen.

A fascinating capsule of an era long past.

Because (Vilanch) is such a character, the movie ends up being a lot of fun.

An only intermittently amusing genre parody.

As is often the case with Toback's films, even as you're shaking your head at his shameless self-indulgence, you can't help but keep on watching.

The resulting jolts add up to one unforgettably surreal nightmare. Just be sure your heart can handle any surprises headed your way.

Marsden's natural charisma is totally wasted in an unlikable role, while Burns doesn't even try to hide his boredom.

Stooping to low-rent laffs By ELIZABETH WEITZMAN SPECIAL TO THE NEWS Ben Stiller, Drew Barrymore & Eileen Essel (on floor) DUPLEX. With Ben Stiller, Drew Barrymore. Directed by Danny DeVito. Running time: 88 mins. Rated PG-13: Slapstick violence, gross-out humor. There are people who can look at a creaky, crumbling house and home right in on the solid framework and fabulous fireplace. In "Duplex," Ben Stiller is the fireplace. As for the structure, well, this rather rickety comedy boasts a solid base, though sadly, too much of it has been plastered over with moldy jokes and leaky plot devices.

In equal parts earnest and awkward, this romance between a Mormon missionary and an L.A. party boy falls significantly short of its lofty goals.

Unfortunately, the patina of witty satire eventually gives way to a gratuitous sadism that makes this sordid story feel like a fraud.

To be fair, Sandler deserves some credit for bringing us the first mainstream movie about Chanukah. Too bad it's completely idioticah.

It is the devastating testimony from survivors themselves that leaves the most indelible impression.

Though he's working with an unavoidably sentimental story, Kon embraces the dark underside of his characters' lives, giving this animated film a satisfyingly three-dimensional feel.

Looks so great, it may take a while to notice it's a clunky political parable wrapped in a tonally confused fairy tale.

Both Rossi and Charlotte Rampling, as the mother of another young patient, do fine work. But the only surprises come at the end, too late to move us the way they should.

It's really too bad the film remains so resolutely flimsy, because the novice cast is so clearly delighted to be putting on a show, their glee is contagious enough to carry us along -- for a while.

Instructive but aggressively biased liberal history lesson.

Sensitive and thoughtful coming-of-age story.

Chereau keeps us locked inside their suffocatingly unhappy home, making for an intensely theatrical chamber piece.

Bukowski fans - and they are legion - may fill in the blanks from their own knowledge of the writer and find Factotum a more complete character study than it really is. For the rest of us, there are a few laughs - and a corking hangover.

While the story's silly, the stunts, choreographed by Jaa and popular Thai filmmaker Panna Rittikrai, are spectacular.

It will be a long time before you forget the deep pain etched into the weary face of Carmelo Muñiz, the mariachi singer at the center of Mark Becker's immensely moving documentary.

There's a great deal of potential here, but like Will, Minghella loses his bearings whenever he wanders too far from home.

Eerie, opaque and unblinkingly sadomasochistic.

The script, which is rarely smart and barely scary, offers little more than a checklist of panic-inducing plagues, from locusts to boils to bad Southern accents.

"I hate this stinkin' war," Neil Young announces in this chronicle of CSNY's "Freedom of Speech Tour," and the rest of the movie is just as unapologetically blunt.

As for the ever-impressive supporting cast, neither a delightfully befuddled Jim Broadbent nor a wild-eyed Helena Bonham Carter can upstage Alan Rickman, who again proves invaluable as the slithery Prof. Snape.

Hudson has, if nothing else, traded up: last winter she was stuck in "Fool's Gold."

Though it can't quite transcend its filmmaker's earnest intentions, this solemn history lesson offers several powerful moments.

Both lightweight and heavy-handed, Carl Bessai's arthouse drama can't even be redeemed by Ian McKellen's sensitive turn in the title role.

The film nearly drowns in earnest morality.

Both Adams and Judd have been let down by Hollywood. Here they have the freedom to express their uniquely Southern takes on music, faith, family and femininity. This intensely personal film may not bring either of them widespread acclaim, but it's a small triumph nonetheless.

While the sequel isn't as unrelentingly gory as the original, there are still rivers of blood.

There's a great idea here, but it's buried within a muddled story that lurches between dark comedy and maudlin drama.

The performances are dreadful, the direction shoddy and the final twist so idiotic, your mind can’t help but drift toward all the better scripts just waiting, sadly and silently, for the chance wasted here.

The 3-D format is mostly wasted, and the production so slick we never truly feel like part of that screaming audience. For fans only.

Pulse works as a hypnotic meditation on contemporary alienation. Traditional horror fans, however, will search in vain for signs of life.

An almost comically unsuitable title. There's absolutely nothing singular or special about this slapdash sci-fi film featuring martial-arts megastar Jet Li.

A jumbled composite of blurred images, poetic yearnings and metaphoric dialogue.

Never quite knows where it's going - which is especially frustrating, since it takes such a long and painful path to get there.

Scurlock barely acknowledges the logical reality of any credit card transaction: If you choose to buy something, you will have to pay for it eventually.

Like "Lions for Lambs," Redacted is more significant in its sense of purpose than its uneven execution.

This little gem is best saved for those -- both young and old -- who prefer to find surprises under the tree.

It's hard to know who is the intended audience for this misguided mess.

Here is something great and startling -- not necessarily the kind of comforting, consensus-creating film that wins Oscars, but unquestionably a movie that will live in the history of the medium.

The film is unabashedly supportive of Father Hartley, presenting him as a stubborn saint, and depicts the wealthy owners as soulless villains. Presumably they have a different story to tell, but we wouldn't know: When the camera's on, none can be found.

Creating a hypnotically digressive travelogue, Herzog wanders from soul to soul, asking deceptively mild questions to potent effect.

A smashing success on its own terms, though as a transcendent love story it lacks the firm foundation in human reality that characterizes Lars Von Trier's superior "Breaking the Waves."

Take us on an indelible tour through the highest and lowest points of the human experience.

Machado establishes a realistically seamy environment for his erotic triangle, and there are some surprisingly tender moments amid the squalor.

Granted, this movie is unlikely to threaten "The Departed" at Oscar time. But for mindless entertainment, you could do a lot worse.

It's guilt that gives life, shape and depth to this uncommonly perceptive film.

Israeli director Savi Gabizon has created a nuanced coming-of-age portrait that ought to strike a chord with ­audiences ­everywhere.

It's a perfectly acceptable short-term baby-sitter. Just make sure the original gets a fair viewing first.

Christian infuses this familiar story with gentle empathy, which goes a long way in balancing out the more amateurish choices.

Director George Gallo seems so enamored of Martin Scorsese's Mafia classic, he's borrowed everything from the use of voiceover to the Stones-centric soundtrack to the insistent editing style. What's missing, alas, is the artistry.

It's an interesting conceit that quickly becomes a precious annoyance especially since the drama itself is so static.

There are some mildly amusing turns from costars like Kristin Scott Thomas, playing an icy editor, and Robert Stanton, as her frustrated debt collector.

It's hard to believe Andy Warhol's Factory created enough characters to keep us interested 40 years later, but as it turns out, drag diva Jackie Curtis still has a few more minutes of fame left.

Should have been either darker or funnier. Or both.

All we get is the Oedipal nightmare of a mom, the flaky teddy-bear fanatic, the sexual vampire, and on and on.

It's hard to say which is worse: The fact that 20th Century Fox believes this sour, sexist fantasy reflects anyone's actual experience or that Hollywood is so woefully behind the cultural curve.

Benigni, with great help from young Cantarini, has crafted a work of such complexity that you may find both your brain and your heart simply overloaded. Which, of course, is the rarely achieved goal of all art.

Step Up 3D is so lacking in any kind of edge, it might as well be "High School Musical: The Hip-Hop Edition."

Immensely moving and strikingly original, Kelly's story of a brilliant, disturbed teen (Jake Gyllenhaal) drowning in the cultural morass of the 1980s now feels bloated.

The movie's a botch, but at least it'll make you feel good about your own daily drudgery.

There are some very moving scenes, and Ankilewitz' emotional and physical strength is certainly inspiring. Equally compelling is the dedication of his able-bodied friends and family, who never patronize him. Regrettably, the film itself, which feels both breathlessly over-awed and padded out at only 74 minutes, is unable to treat him with the same relaxed respect.

Definitely worth a chance: although everyone in this fog-shrouded setting makes grand sacrifices, all you'll lose are a few tears.

Jasmila Zbanic's poignant drama reminds us that the aftershocks of war linger for generations.

The script is compelling, the direction confident, the production values professional. But it does not, in the end, feel real.

Some stories are more compellingly told than others, but all, like Trank's film, are deserving of attention.

Will thrill those who prefer their violence graphic and their comedy surreal.

The perfect answer to cries of "I'm bored," Marshall Curry's outstanding documentary won't just entertain your family for a little while. It'll also inspire everyone to get back outside, and find a new passion.

It has the most beautiful ending of any American film in years, a coda of reconciliation and remembrance set in a gentle L.A. rain.

Given that so many people have dismissed Ashton Kutcher as a superficial pretty boy, it seems a little ironic that his best work this week is two-dimensional: He makes a passable action hero in "The Guardian," but he's downright adorable in Open Season, a cheerful animated comedy built on his winningly loose voice performance.

Not all of the movie works - in fact, huge portions don't - but there are enough striking moments to make a lasting impact. How ironic: In this fairy-tale of arrested development, Korine has created his most mature movie yet.

It's not sharp or ironic, but drab and downbeat. Unfortunately, it's also going to feel utterly familiar to those who've seen their share of independent dramas in the last 15 years.

Proving there's always a new way to tell an old story, Stephen Chow pulls out all the stops for one of the silliest, sweetest and most fun family films in recent memory.

Too superficial to shock or surprise.

An ingratiatingly sincere attempt to deal with the complications and contradictions of modern romance.

Commits the cardinal sin of moviemaking: It leaves you bored.

Helstein doesn't have to work so hard to remind us of her subject's gravity; the stories chronicled are chilling enough without embellishment.

There are a few funny jokes scattered throughout, but the halfhearted direction and clunky script are underscored by performances that feel like they belong in community theater.

"If you don't want something," Twelve informs us, "you've got nothing." Well, I wanted to watch a good movie. But Joel Schumacher's shallow teen drama gave me nothing, instead.

Kids will love it.

Of course the experiences and sacrifices of black troops, which were so often overlooked, should be represented and honored. But because Lee underestimates our desire to do so, the movie that follows doesn't do them justice.

The entire cast, in fact, seems to be having fun, with Affleck and Koechner cheerfully stealing each one of their scenes. And the jokes come often enough to leave us consistently amused and occasionally delighted.

You won’t find anything new here: the sequel is basically a retread of the original, in which Scott delivers the strongest emotional moments, while an amusingly over-the-top Smith perpetually breaks the tension.

The inspector general is an interesting figure, and the images of criminals sobbing over their newfound inner peace are certainly memorable.

Jensen tarnishes the lining of every cloud in one wickedly funny scene after another.

Credit Icelandic director Sturla Gunnarsson for having an ambitious vision: He took a look at the eighth-century epic poem "Beowulf" and decided he could cut it down to size. And he has, for better and worse.

A mediocre movie that will be wiped from its stars' résumés with head-spinning speed.

Narrated by Nicole Kidman, this poignant documentary tells only half the story of three Sudanese "lost boys" who emigrate to America. Though it doesn't delve as deep as it should, this movie will still break your heart.

Eventually any serious statement is lost in a sea of sadism, as he forces us to watch scene after scene of gruesome, humiliating torture.

Lacking the requisite post-"Scream" irony, the film is simply a package of gougings, stabbings, drillings and guttings, all tied up with a "twist" ending that anyone with a still-functioning brain could figure out in a matter of minutes.

Yeah, this is pretty much your classic been-there, done-that scenario: evil stepmother, clueless father, imperiled teen.

There's nothing exceptional about Jane Campion's historical biography, but it's a sufficiently lovely tale to suit romantics with a taste for intimate period dramas.

At its best moments, the film offers a tender portrait of the park's youngest regulars, charmingly earnest performers from a nearby music school. But then, inevitably, their stories fade into a backdrop, as his camera turns to catch yet more women sunning in the square.

Whether today's tweens will go for such wholesomely retro entertainment is questionable, but their parents - at least the ones who once donned rainbow knee socks and too-tight Calvins - will love to love it, baby.

As they talk between classes about oppressive husbands, abusive brothers and arranged marriages, it becomes clear that the frivolities Americans take for granted can be their lifeline. In this tentatively hopeful setting, a single lipstick becomes leverage.

Ever fast-forward through a late-night cable romance just to get to the good parts? This amateurish relationship dramedy features all the stuff you'd skip, and nothing else.

Rafferty keeps the structure so blandly standard, the title is nearly the most intriguing element of the whole film.

Surprisingly conventional by director Richard Linklater's standards, this pleasant, low-key dramedy is most memorable for the discovery of co-star Christian McKay.

An intriguing idea undermined by a lackluster follow-through.

Friedlander offers a nicely subtle performance, but the other actors - including Alan Cumming, Deborah Harry and Amy Sedaris - appear to have turned up as a favor to the director. Don't feel obliged to follow their lead.

The central love story, platonic though it may be, is entirely between the men. Their connection - and I’m determined to avoid the word “bromance” - saves this film from becoming just another Apatowian wanna-be.

Unpolished and clearly made on a low budget, the results seem a little like a home video by someone who spent an especially cool summer vacation.

Arnold's heart is in the right place, but somebody needs to save him from himself - and soon.

Novice director Lucky McKee wrote the first draft of this labored horror flick while he was in school, and for a student film, it's not bad. But it's not ready for the big time.

There are enough droll moments to spark cult status, and McBride's commitment is impressive.

The movie loses its way toward the end, shifting from wry black comedy to slightly overdone pathos. But there's plenty here to appreciate, making the title perfectly apt.

If "Up" is the animated equivalent of an ice cream sundae, Ice Age: Dawn of the Dinosaurs is the Popsicle: Neither as rich nor as memorable, but more than welcome on a long, hot summer day.

When a 6-foot-tall man is playing your emotionally delicate heroine, a little subtlety goes a long way.

If you love Viagra jokes, look no further. Otherwise, stay home and find yourself a "Golden Girls" marathon.

Though it lacks a focus or greater artistic vision, Thomas Balmès' no-frills documentary offers Westerners a valuable glimpse into the sweatshops of the new China.

You may not subscribe to the film's evangelical message, but you'll be floored by the extraordinary musical scenes, which lead up to a showstopper featuring gospel superstars like Donnie McClurkin and Yolanda Adams.

Providing a tart balance to such enthusiastic admiration, Gehry's own blunt musings on his motivations, revelations and desires prove especially interesting.

It's the perfect antidote to overprocessed entertainment, for moviegoers of any age.

The truth is, no review could really do justice to the monumental trashiness of this mess; it really has to be seen to be believed. Although if Lohan is lucky, no one will bother.

For everyone who has been waiting on a movie in the Ghent dialect, your patience has paid off. Happily, Felix Van Groeningen's low-budget romance is also sly - if utterly superficial - fun.

Roehler aims scattershot barbs at so many targets, from political hypocrisy to suburban entitlement, that he often misses. But whenever he takes the time to line up his toxic arrows, usually with the help of a compellingly squirmy Bleibtreu, he hits the bull's-eye.

Kaurismaki's characteristically minimalist humor and wry empathy make brief appearances, but be warned: His Helsinki is a cold, dark place unfit for all but the hardiest visitors.

What kind of movie is misdirected, poorly acted, preposterously written--and still wholly entertaining? A B-movie, of course. While Illegal Tender has misguided pretensions towards Serious Filmmaking, it's surprisingly likeable if you see it instead as a cheesy thriller good for a lazy Friday night.

A tacky 'Fatal Attraction' for the lesbian set.

There are some funny moments and amusing cameos, but it's not enough to elevate this project's slapdash approach.

It doesn't dip much below the surface, but Tamra Davis' biography of her friend Jean-Michel Basquiat, who died in 1988, offers an informative introduction to one of contemporary art's most complex figures.

A warmed-over ripoff, rather than the gritty urban drama it so desperately wants to be.

The tone is attentive and responsible.

The real culprit is first-time director Marcel Langenegger, who seems to have studied for his debut by watching nothing but Cinemax. The score hints at ominous activities that never happen, a rain machine provides the only atmosphere and the actors have to suffer through the silliest sex scenes in recent memory.

As an alternative to the slick, instantly forgettable fare usually made for kids and preteens, Ella Enchanted brings a little bit of magic to the multiplex.

While Cera is adorable, Yi’s faux ­naiveté is overplayed and her philosophical musings are underwhelming. But you won’t soon forget the real-life couples she interviews.

A few genuinely tense scenes are not enough to overcome a thin script, weak direction and an unceasingly high-strung score.

Arnaud Desplechin's sprawling drama exudes a go-for-broke determination that is frustrating and exhilarating.

Won't change the world, but thanks to its casual intimacy, it was a risk worth taking.

Because his self-conscious musings are given so much space, it helps to arrive at the movie already awed by Shicoff's talents so you can overlook his (and this dramatically unfocused film's) flaws.

Oddly enough, given his limited role, the movie seems to have been made around Nelly; when he's not onscreen, everything falls apart.

García Bernal's irrepressible charm provides a burst of welcome energy with each brief appearance.

Just because Dimension considered Greg McLean's nasty exploitation flick worthy of their time and money doesn't mean it deserves yours.

So laughably preposterous that it's thoroughly entertaining.

The characters may suffer once the bride walks down the aisle, but Bier, Jensen and their first-rate cast work together like a match made in heaven.

Bogdanich turned in an exhaustively thorough document that sheds some light on a tragedy that remains shadowy to those outside its domain.

Earnest, fact-based drama is marred only by the fact that it wants desperately to save your soul.

While Cera is charming enough to keep us watching, he's never allowed to cut loose -- even though that's supposed to be the whole point of the movie.

Rarely do adaptations of stage plays work on screen, and almost never do they work as well as this one does. Most remarkably, the dryly comic "Moon" is virtually a one-man show.

Benigni clearly intends to make some impassioned statements about the futility of war, the power of romance, the enduring strength of optimism. However, the once-appealing innocence of his exuberant persona has become curdled over time.

You'll find more authenticity listening in on conversations at your corner diner. But this is a gentler alternative, especially if you prefer your coffee with extra cream and sugar anyway.

If karma exists, Alvin and the Chipmunks must be Lee's punishment for appearing in the likes of "Jersey Girl."

Baldwin and Streep do make the most of the situation, and their sparky chemistry provides the only real draw.

Despite the packed plot adapted by Polanski and Robert Harris from Harris' novel -- the pacing feels oddly slack.

The movie works as well as it does ­because the cast knows the material so ­intimately. (review of re-release)

Bar-Lev has created a film remarkable in its ability to capture both the worst and best of human nature.

Ratner is unable to maintain the emotional intensity that has made this series so deeply epic. But he sure knows how to put on a show.

With the film's hypnotic emphasis on artistry and architecture, most viewers will probably get their satisfaction from the striking visual elements, particularly the stop-motion animation.

The Namesake is suffused with radiant grace, and manages to be old-fashioned yet immediate, epic and intimate.

Watching the movie felt like any number of bad blind dates.

Having mined England and Ireland dry, filmmakers are now turning to Wales for their quirkiness quota.

The wisecracking Chan and the stoic Li play off their on-screen images with good humor, and if they don't have the agility they once did, it's still a joy to watch them make the most of Yuen Woo-ping's impressive choreography.

Alternates between being amusingly pretentious and studiously dull.

The vision of him pretending to be a sullen teen is a distraction the movie never overcomes.

A patronizing, self-satisfied piece of work, Funny Games is Michael Haneke's way of chastising us for blindly following the traditional rules of entertainment.

You will find a few glimmers of humanity in Todd Solondz' latest exercise in acerbic observation. But Solondz continues to mistake judgment for honesty, and empathy for weakness.

Equally compelling and depressing.

Cheesy horror flick that feels like straight-to-video material.

There are satisfying moments throughout the movie.

Though it has a familiar inevitability, the journey is generally compelling, thanks to fierce battles, a gorgeous landscape and heartfelt performances.

Does little more than re-create the oppressive feeling of suffocating employment. And why put yourself through that experience without the promise of a paycheck at the other end?

Forgive us for being demanding, but shouldn't an animated kids movie like this one be, at the very least, fun? Cute? Watchable?

The unhappy dead populate Geoffrey Sax's third-rate thriller White Noise like a pre-Christmas crowd at a suburban mall. This is a shame, since they are neither scary nor sad, and less likely to haunt an audience than simply bore them to death.

Almada steadfastly reserves judgment, which means we don't learn if there are members of the Mexican community who disapprove of corrido's hard-edged lyrics. But she makes a pretty good case for its passionate fans. Like them, we're left unable to get the music - and the musicians - out of our heads.

Profoundly mediocre supernatural thriller.

Good intentions and some nicely playful moments go a long way toward balancing out Paul Morrison's uneven story of British immigrants in the early 1960s.

Ellis' stamp is immediately apparent, from the absurdly vapid characters to the undercurrent of barely repressed anger.

Provides just enough smart, silly fun for families desperately seeking an easy (and air-conditioned) escape from hazy August humidity.

Anyone who doubts that a single individual can make a political impact should see Anders Østergaard’s gripping documentary.

Given a plot and dialogue that ring entirely false, we're left with a bunch of unpleasant characters who do unpleasant things for no apparent reason. Enjoy.

The notable lack of chemistry between Cruz and Homar is a crucial absence in a film about all-consuming romance. And though each part is great fun to watch, the whole feels unfinished.

Amanda Micheli's candid documentary introduces us to two of these real-life daredevils, and it is a genuine pleasure.

Bujalski celebrates the awkwardness of twentysomething life, allowing Dollenmayer to create a beautifully authentic portrait.

Consistently moving but never quite coalesces into a strongly coherent whole.

At least it's as sweet as it is superficial.

The many opera scenes are so beautifully mounted, they make up for the moments when the story veers toward melodrama.

A technical and visual tour-de-force.

Weintrob's shallow analysis of virtual reality might have been more resonant in the mid-'90s, but he seems well aware that some things are timeless: By the end of his film, he has firmly shifted focus, concentrating far less on the cyber than on the sex.

Racist, misogynistic and breath­takingly cynical, Ernest Dickerson's clichéd crime drama Never Die Alone shamelessly exploits the degrada­tion of its irredeemable characters.

Tooth Fairy's script -- which was written by five people -- is lousy, and the direction, by Michael Lembeck, is weak.

A genially mellow, consistently entertaining spoof.

Brodsky's last film before his death is a moving tribute to his career.

The movie's intense focus skillfully exposes the raw pain just under the skin of a seemingly ordinary citizen.

One of Walsch's precepts is that you should never make a living doing something you hate. If I'd known that, I might not have felt obliged to sit through every excruciating minute of this sanctimonious infomercial.

Rev. Robin Williams goes from mildly comic to downright creepy.

The frantic proceedings are more likely to have you wishing this summer would just come to an end.

Ivory appears most concerned about creating a mood, and in this regard he's successful. But Ruth Prawer Jhabvala's surprisingly bland screenplay, based on Peter Cameron's novel, feels half-finished

Works on two levels: Goldfinger does a terrific job exploring the broader history of Yiddish theater, while also homing in on the compelling story of the Burstein family itself.

This pretty trifle is a movie about gorgeous women having an illicit affair -- period.

What most interests the directors is the way young minds are shaped by adults with clear moral and political agendas.

Directors Adi Barash and Ruth Shatz do a brilliant job of letting the South African, Israeli, Cuban and Namibian men aboard speak for themselves.

Once isn't especially complex, but the chemistry between its appealing leads (who contribute to the lovely score) feels deeply true. You'd have to look awfully hard to find such sincerity in a Hollywood romance.

The Ten is so proud of its own wit and irreverence that when you fail to be equally impressed, you are likely to wonder if your own sense of humor is, in some way, deficient. Rest assured it is not.

Kechiche takes his time, allowing us to know the characters as if we live next door. But be warned: for those who come to feel like a member of the family, the unexpected end may seem strikingly unfair.

The first feature from Adam Bhala Lough is brashly passionate in its desire to express the power and validity of graffiti art. But it's also preachy and single-minded, populated by a world of sympathetic heroes and hissable villains.

Only a memorably commanding Ruehl transcends the limitations of her two-dimensional character.

The latest "Dawson's Creek" alumnus to break out of his WB bonds, Joshua Jackson proves himself all grown up in this sweetly scrappy indie.

There's nothing truly new to be found here, but Kreuzpaintner treats Tobi's confusion with respect and gentle humor, making this an especially sensitive coming-of-age/coming-out story.

Unfortunately, Bate saddles his otherwise compelling chronicle with awkward re-creations and an aggressively overbearing narration.

it's Van Zandt's family that provides the film's most memorable moments.

After languishing unseen for years, Laurent Firode's long-delayed comedy is finally getting its day in the sun. Too bad there's such a heavy shadow hanging over it.

The story line is frustratingly haphazard, spreading out in several directions without ever focusing on one.

Passion this profound can't help but make an impact.

An old-fashioned joy.

Aside from some resonant hints that all is not as it seems, the movie leaves it to you to decide where the truths begin and ends. You'll be untangling Dresnok's knotty reality long after you leave the theater.

If aesthetics are a prime factor in your movie choices, you may get something out of Ann Hu's overwrought, but beautifully atmospheric, period romance.

With lots of cool gadgets, plenty of silliness and a clever concept guaranteed to appeal to preteens, this should be an unflagging, high-octane romp.

Corcuera is a deft and determined storyteller, and it's a testament to his passion that we're left wanting to know a great deal more about each of his subjects.

It's not that this is lousy entertainment, it's just that it's a Serious Topic given unnecessary Celebrity Sheen.

It's an ugly affair overall, but at least you can say you've never seen such beautiful shirts.

Perry makes sure villains get their comeuppance, while heroines get big, frilly weddings - with God, and an imperious Maya Angelou - presiding over it all.

While Mark Friedman's script is as unsubtle as Winkler's direction, their sincerity and the subject's sharp immediacy lend the film a certain power.

Few of the parts harmonize ­properly, leaving us with provocative fragments rather than an electrifying whole.

If all you want is a bullets-and-bombs B-movie, you'll get your money's worth: Somehow, Hayward makes 82 minutes feel like hours.

Beautiful, witty and provocative, this is one genre film that ought to appeal to fans and non-fans alike.

Freida Lee Mock's adulatory portrait makes for pleasant viewing - but should it?

The cinematic equivalent of a gangsta rap song, State Property is little more than a marketing tool for Roc-A-Fella Records.

It's disappointing when a big-screen romance can't match up to the one in your imagination, at any age.

What makes the film feel genuine, however, are the performances.

Charming, funny and poignant. But it's also a reminder that if we want an intelligent teen romance, we have to import it.

An invaluable chapter in the story of our city.

Nearly every actor has his or her moments of hilarity, but it's the surprises, like Herzog's terrific turn as a bunny-loving sadist, that make the biggest impact.

Is it possible for an historically -based Holocaust movie to be schmaltzy? This one sure comes close.