Jessica Winter

Pleasant and undemanding, all the more so whenever Tom Wilkinson's on-screen as a possible Erlynne suitor, the movie miscasts Hunt as the pragmatic seductress.

First-time director Bonnie Hunt pays slavish adherence to the Nora Ephron rules of assembly for the prefab rom-com.

Bursting with grotesque burlesques of household relations.

Having established Josey as the focus of the entire iron range's enmity, the filmmakers panic, and North Country spectacularly self-destructs in a climactic courtroom free-for-all.

The uncertain plot somehow concerns ginseng and stolen objets d'art; the main thrust is acrobatic slapstick with a decided antipatriarchal twist.

Improbably, the sequel only ups the ante on its predecessor's comedy-of-embarrassment quotient.

Gets a lurching spring in its step whenever Tom Green shows up to, say, cram a live mouse in his mouth.

Godard light, but not lite: Its breezy postures front for melancholia.

As the tourist on a time budget, the usually brilliant Coogan merely mugs and flails (we can only imagine what Johnny Depp would have done with Fogg), while he and able straight man Chan enjoy scant opportunity to develop any comic rapport.

Dinosaur amounts to 80 minutes of discouraged Cretaceous trudging, punctuated by the occasional fight or stampede and one pyrotechnic coup: a truly thrilling meteor shower.

The scoreless Or (My Treasure) consists solely of stationary shots that, while sometimes awkwardly composed, build in organic momentum and bracing detail.

If Moon Shadow does sometimes overcome its sentimentalism and faulty parallels, it's because the film is altogether unburdened by cynicism.

Amid the sticky-sweet swamp of Jeremy Leven's script, Rowlands and Garner emerge spotless and beatific, lending a magnanimous credibility to their scenes together. These two old pros slice cleanly through the thicket of sap-weeping dialogue and contrivance, locating the terror and desolation wrought by the cruel betrayals of a failing mind.

The idea isn't as odd as it might first appear, since running a salon is one of the few socially acceptable means for a woman in Afghanistan to earn an income. The execution, however, evokes a particularly outlandish Christopher Guest mockumentary.

As documentary filmmaking, it's cheap and suspect. As advocacy, it's necessary.

Broomfield's investigatory technique remains a frustrating pileup of unfocused Q&As and misplaced credulity. But when Broomfield travels to her Michigan hometown, he pieces together a life blighted at breech-birth: a grotesque of abandonment, incest, physical and sexual abuse, pregnancy at 13, and homelessness.

Never lacks for energy, and the director and his stars stride with focused confidence through the hooey.

This sly, engrossing doc is an expert riposte to smug proponents of the fetterless free market.

Boldly aspirational. It's Jeunet's stab at "Paths of Glory," dipped in a sepia bath and halfway wrenched into a women's picture.

A plea for equality of opportunity, a worthy objective somewhat obscured by non-disabled actors occupying the lead roles. In any case, one imagines Rory himself would prefer a Farrelly disability blooper reel.

Niccol's fatal error is in making the protagonist at once amoral and insipid, an admixture thickened by Cage's loquacious yet stoned voice-over and Moynahan's moist-eyed tremblings as the trophy wife.

There's so little leavening humor here, and so much physical and emotional violence visited upon the already abject, that the film seems as pointless as the wasted lives it purports to examine.

There are pages missing from this fable: Meadows reports that his financiers asked him to cut one-quarter of his original script just before production began, and his fondness for long takes sits uneasily beside the apparent gaps in the narrative.

The film itself is thinly conceived, except in the area of bodily misfunction. It plays like the murky B side to the immortal Gilliam-Jones epic "Monty Python and the Holy Grail."

The director has a fitfully deployed gift for droll humor, but Chutney Popcorn mostly provides evidence that the ins and outs of the improvised multiparent family can be as prosaic as the nuclear Eisenhower model.

Two Men is slow and sweet as warm pudding, but Cranham and Derek Jacobi (as one of Churchill's intelligence officers) both add a generous, wholehearted gravitas the film might have thought to ask for in the first place.

Lovely to look at but insipid.

The poised Vega and pleasingly phlegmatic Sabara are resolutely uncute performers, and the reach-out-and-touch-it gadgetry carries a homey scent of proactive nostalgia. Spy Kids 2 is an island of lost Circuit Cities.

The contortional physical shtick familiar from Lawrence's sitcom, laden with a dollop of Three Stooges violence, should keep the boys happy.

A handsome, mostly tasteful production on par with 2001's Bayley-Murdoch impersonation "Iris."

Unfolds as a series of slightly disjointed vignettes, padded with redundant voiceover and an oppressively histrionic score.

The Business of Strangers goes too far in dramatizing Julie's primal, Paula-fied surge of female fury, and the script finally mistakes respectful ambiguity for vaporous drift.

Though Wilson gives a customarily sympathetic, engaged, and unpredictable performance, his work is drowned out by pyrotechnics and orchestral paroxysms of patriotism.

Largely inept and weirdly endearing.

Begs the question: Did the lads from Squatney trail the zeitgeist at every turn, or were cobandleaders David St. Hubbins and Nigel Tufnel simply in touch with their past and ahead of their time?

Mackenzie and Marber opt for an anonymous viewpoint of clinical detachment, which generates about the same psychodramatic tension as reading the "DSM-IV."

A junk-food movie striving to be nutritious -- it's one of your racier Be Yourself after-school specials crossed with 'Who Moved My Cheese?" for Cosmo girls.

Handheld sprinting and swish-pans try to enliven the duo's shenanigans: undermotivated fisticuffs, fun with the nutty controls on their limousine (the roof slides open!), Vaughn's endless yapping.

We get a bunch of straight actors focusing on the "gayness" of their characters, mincing and lisping and melodramatically breaking nails, all in the besmirched name of tolerance.

Martin seems uncomfortable and oddly waxen (the orange Al Gore makeup doesn't help), injecting Frank with neither restless anger nor wry humor.

Amid the awkward pacing and gaping plot holes, the film's chief point of interest is Goldblum's morbidly fascinating performance: equal parts Walter Neff and Captain Kirk.

The Edukators smiles indulgently as the kids rage belatedly against the dying of the SDS light.

Begins and ends with footage of FDR intoning "I hate war," something the film takes two interminable hours to say.

Depp and Highmore's final scene together strikes a muted blow of desolation -- bottomless but just bearable -- that Forster rather bravely lets stand as the last word on all the fanciful solace that Barrieland had to offer.

Pacino simply wipes the cobblestones with the rest of the cast: His beautifully calibrated performance is lucid, commanding, and genuinely tragic.

A happy ending is never at issue here -- it's clear where she's going, but there's little clue where she's been.

Though it often wallows in louche baroque textures, The Golden Bowl is perhaps the most visually accomplished of the Ivory soaps.

In lieu of vaporous message-mongering, the languid, episodic narrative -- centering on hapless sadsack Quoyle (Spacey) -- streams along by the gentle force of a convincing melancholic undertow, a dejection and longing that's not so much surmounted as sustained.

It's dispiriting to watch him (Murphy) stand patiently by and concoct reaction shots for quipping raccoons and dancing bears.

Day-Lewis is as rooted as an oak in his character and milieu, yet easefully disengaged from the film's pensive histrionics.

Vatel is dull and silly, but the holiday season doesn't offer a better sets-and-costumes workshop.

A frat-boy remake of "Pink Flamingos" which isn't all bad.

The overdetermined approach preempts character shadings or social subtext-just compare Hideo Nakata's original "Ring," which tapped its dread from viral-replicant mass culture and its pathos from a broken home, or Nakata's "Dark Water," which channeled the sorrow, guilt, and paranoia felt by a young divorcée mired in a custody battle.

The elliptical, even fragmented editing style clashes with the reiterative voice-over, which could indicate a stylistic choice or cutting under duress.

It's squeamish about sex but not, unfortunately, sentiment.

[Rhys Meyers] remains trapped in an enervating road movie - shelved so long that Rhys Meyers still appears to have baby fat - summed up when Finbar, who turns up in Finland (natch), asks whey-faced Danny, "You couldn't find anything better to do than to come find me?!"

Nothing much happens, and that's the point, but all this wheel spinning could have used more grease.

Carandiru's every scene is cut from factory-issue prison-genre cloth to fit jailhouse stock characters.

Can't transcend its own suffocating milieu.

A pleasant if overlong road show starring five witty, sweet, humble guys.

Oddly, in representing a private conflict as the microcosm of an unsolvable catastrophe, Free Zone only manages to miniaturize both.

The appealing leads have strong chemistry, but it's the wrong kind: an affectionate big-brother/little-sister rapport that leaves a discomfiting taint on their more amorous clinches.

Leitman's interviews are lax and inconclusive.

A widescreen wallow in socially enforced slum nihilism brought to you by Miramax, Tsotsi could be pegged as "City of God" relocated to the Soweto shanties, but it eschews the ironic swagger and strobe-speed action of Fernando Meirelles's lurid jigsaw for a more conventional arc.

The narrative is unexpectedly sleepy, excepting the occasional flashy set piece.

Aspiring to evoke an unreal city stranded in the autumn of the soul, the film succeeds only when it peers up from the intro-philosophy book for the occasional glimpse of everyday beauty.

Sweet and sleepy, I Capture the Castle might feel most comfortable in a Sunday-afternoon slot on the BBC.

Cirque du Soleil's campy, crackbrained, and in no way unenjoyable 3-D IMAX pageant Journey of Man might be the oddest movie offering of the year so far.

State and Main is a Hollywood satire as cynical and thickheaded as its supposed targets.

The kind of quotidian pastoral -- about a simple, honest peasant who finds the greatest love of all -- that the Academy invariably finds irresistible.

The disjointed plotting and afterschool-special dialogue offer scant opportunity for the charismatic leading duo to work up much chemistry.

Claims to sort the bad guys from the good, which is its essential problem.

Occasionally smirky.

The early scenes whir and buzz along to create quite a pleasing clamor.

The mysticism only mystifies; its hieroglyphics are vividly rendered, but Bee Season never manages to spell them out.

Begins with the same deathless question that has bedeviled generations of teenagers: how to fill the space allotted to graduating seniors for memories and shout-outs at the back of their yearbook?

Dark Blue World and Sverak's previous "Kolya" were each written by the director's father, Zdenek, and both films betray a weakness for the symmetrical and sentimental.

The raw art of the malapropism has rarely been so extensively honored, but the increasingly strident, slapstick-smacked movie runs out of steam once the culture shock wears off.

Madeleine's such a cold bitch that the adulterous lovers' anguished scruples scan like inert masochism.

Watching Ben get the girl or be seriously injured trying always has its dry, keening pleasures.

With wit and empathy to spare, waydowntown acknowledges the silent screams of workaday inertia but stops short of indulging its characters' striving solipsism.

B. Monkey is crawling with smart actors saying things they don't quite mean.

Casual familiarity with Lyne's oeuvre is all you need to predict the major plot contortion.

Amiable and hollow.

Quek is compelling not for her ideas but the tangled path by which she came to them.

Scott Elliott's palsied directorial debut, from a mine shaft-ridden script, is a sick joke, and Weaver's part in it screams of temporary insanity.

"Legally Blonde" director Robert Luketic bumbles along with typically clumsy blocking and framing, and the misogyny inherent in the three-ring spectacle of bitch slaps, barbiturate covert ops, and wedding plan hysteria does rankle.

Solid raw material, but the execution is overcooked.

Money can't buy happiness, but as Bride and Prejudice teaches us, it can get patience in bulk from a smart young woman of a practical mind-set.

Studiously harmless, Disney's long-in-development film rendition pasteurizes the book's renegade verve with typical means.

The movie is a technical marvel from its lysergic cinematography (by Decha Srimantra) to its pulsing-vessel sound design, but it has no identity apart from its influences, however dazzlingly they're deployed.

The Road Home is foremost enthralled, however, with its lead actress -- wide-eyed and pigtailed, revered in close-up after stunned close-up.

Like a loud and intermittently charismatic drunk at a dreary dive bar, Intermission grabs your attention, but in no time you're looking for the nearest exit.

Brady and Cunningham share a volatile, symbiotic chemistry, sketching in elegant shorthand the rhythms of a lusty, combative marriage.

Like grieving itself, the film is awkward, messily honest, and sometimes darkly funny.

Most frustrating, Stage Beauty fumbles XX/XY politics at every turn.

A discombobulating mix of blood-and-grit docu-realism and moony multiplex contrivance.

John Corbett shuffles in for yet another tour of duty as the bland requisite love interest.