Paula Nechak

Outside of its star power, it reeks of indie film and doesn't hold much mainstream steam.

Sometimes so intimate it's embarrassing, and the messiness at falling in love at any age is disquieting.

It's an unashamedly old-fashioned and richly visualized evocation of a time when values were key, trust in your neighbor complete, and a way of life that should be simple is made unfathomably complex because of economic hardship.

Here's yet another take on "Pride and Prejudice,"...but all spiced up as colorfully as a dish of curry.

This collision of popular Emmy-winning TV shows is strangely uninspired and, well, a bit dull.

While there is a faithful following of kids, it just never seems as exciting or sad or emotional -- or as ablaze with personalities -- as what has gone before.

It's an unenlightening film that proves youthful anarchy is just as dull as a midlife crisis, and sadly, as predictable, too.

What remains is a sumptuous-looking film that sniffs at but ignores deeper Freudian implications.

Writer and first-time director Thomas Bezucha certainly knows how to create warmth, ambience and situation.

Daring, gorgeous.

The film is a hopeful, rollicking, rocking, humorous, heartbreaking journey.

Truly raunchy but it's more sweetly stupid and silly than anything.

Call it "E.T." for a new generation.

Racing Stripes is oddly torn in tone: is it an old-fashioned family drama, a coming-of-age story or a crass comedy? Live action or animation? Unlike "Babe," it fails to integrate its conflicting personalities.

What Jeffs -- and Paltrow -- do capture is the shroud of tragedy that hovered over Plath.

There are a lot of terrific creative energies at play in Robots and they overcome an overreliance on amusement park sensibilities in the animated adventure.

Hunt and Johansson, two usually good actresses, are vapidly awful, teetering out of their elements in this shakily drawn period piece.

The film leaves an acrid taste with the viewer who sits through its long and winding tale of tortured courtship.

The restless, selfish, unfriendly people created by Lachow as protagonists only make the movie hard to warm up to. It's more akin to fingernails scraping a blackboard than an updated morality play.

It's compelling, poetic, rebellious, funny and one of the few movies that feels like it's been culled from another time and place yet broodingly bends modern societal taboos.

The film is dominated by computer-generated effects and they're most of its problem -- they don't give us anything to emotionally attach to or invest in.

The real humor comes, once again from Murphy, whose Donkey is so genuinely funny and clever that he very nearly steals the film. Except that it's stolen by Banderas as a rogue Puss In Boots.

A film that takes you by surprise, refusing to relinquish its grim, fascinating hold. Better yet, it has crept up on us without much advance promotional fanfare. The less known about its twists, the better.

Though the pop idol recently said that movies are his ultimate goal, the best thing about On the Line is its music.

So poorly constructed and so elementally banal that it's a shock the script was written by the same guy (Nicholas Kazan) who wrote such taut thrillers as "At Close Range" and "Reversal of Fortune."

Breathtaking visual accomplishment.

The film manages to make the ordinary extraordinary. It takes visual risks, tells its story subjectively through images and moves confidently to a stunning, imaginative climax.

A foreign film feel despite its strong American cast.