Maitland McDonagh

Film's real sticky wicket is that the bad guys not only threaten to nuke a major American city but do it — a conceit that might have been more amusing before terrorists destroyed the World Trade Center using hijacked commercial jets. Witnesses said the WTC attack looked like a movie; they didn't say it was a movie they wanted to see.

Diablo and director Jason Reitman never undercut Juno, whom Page brings to a fully rounded life (no pun intended) that verges on the frightening: Her vulnerable center doesn't belie her formidable exterior -- it just makes her more than a sitcom-patter machine.

With the exception of a brief sequence on the Galapagos Islands, where Maturin briefly indulges in some pre-Darwinian study of its unique ecosystem, the entire film takes place aboard the ship, and Weir's greatest accomplishment may be that it never feels claustrophobic.

Their downward spiral is like a slow-motion highway pileup: You might think you don't want to watch, but you can't tear your eyes away.

It's as laceratingly entertaining as its predecessor.

Overall, the film is occasionally interesting but essentially unpersuasive, a footnote to a still evolving story.

You don't have to know an arabesque from an alligator handbag to enjoy Daniel Geller and Dayna Goldfine's loving documentary about the various incarnations of the Ballet Russe.

Inventive visuals and funny bits abound, but the film's gritty look and unsentimental characterizations - Harry, Hermione and Ron are far from golden teens - ominously foreshadow the truly wicked shape of things to come.

It's a great place to visit, even if you wouldn't want to live there.

For all the flash and flutter, the movie overall lacks, well, HEFT.

On the downside, it's slackly edited -- comedy is, after all, all about timing and there are way too many lengthy shots of Cho waiting for her audience to respond.

But overall, Jackson goes for the magic by sidestepping every error of judgment and failure of imagination that brought the ponderous 1976 remake thudding to Earth before Kong ever did. He delivers three solid hours of breathless, enchanting entertainment.

Non-musical scenes that move the narrative forward are staged realistically, while the lavish production numbers reflect the star-struck imagination of one-time chorine Roxie, for whom all the world ought to be a stage.

The interactions between the raspy-voiced Hurt and various shallowly cheerful Americans are genuinely charming and dynamic.

Often rings painfully true, but would have benefited from judicious editing.

Often technically rough, but it's painfully compelling.

Serrau effortlessly navigates the tricky transition from ruefully comic chick flick to gritty crime picture.

Davaa and Falorni's film does suggest that camels have inner lives as rich and complicated as the human beings with whom they live in such intimate proximity. But they're also wholly camels, matted, goopy-eyed, gritty with sand and quick to knee an adorable calf in the snout when its demands become annoying.

By turns enthralling, seductive and deeply disturbing.

Mark Moormann's documentary tends to the worshipful, but Dowd, a charmer onscreen, was by all accounts just as appealing in real life.

It's sometimes hard to breath for the sheer volume of acting sucking the air out of the room, and keeping three narratives movie without muddling them all is a hugely ambitious undertaking for any director, let alone one on his second film.

Morrison brings an amazingly sure hand to MacLachlan's prickly screenplay.

Has a terminal case of the cutes.

Lame, derivative comedy.

This minimalist meditation on loneliness and loss is so spare and drained of color that it seems always on the verge of fading into invisibility.

Undeniably handsome..., but no cliché is left unturned, right down to the spray of toy soldiers falling from the hand of a dead child. Everything old isn't new again.

Though Bittner's slacker charm may not be to all tastes, the parrots are natural-born scene-stealers with more than enough charm to seduce the most dubious viewer.

Bielinsky's feature debut is a smart, enormously entertaining thriller whose preposterous conclusion in no way diminishes the fun of getting there.