Robert Koehler

Never entirely convincing yet always watchable.

Imax 3-D process has lost its original novelty, and little is done in Deep Sea to find new and exciting ways of using the medium.

Renee Zellweger, in another Blighty role, struggles to make Beatrix credible.

Deeply influential, even to his enemies, Atwater's career is viewed here with fascination and some sympathy.

Taking control of what would otherwise be a trite and preachy fable about the need for African American families to accept their gay brethren, Devine builds a jolly and touching character from the stock figure of a Georgia mom coming to terms with her disaffected gay son.

Sharp wit but shaky storytelling.

This wobbly docu-drama ends up being caught in between the impulse to make theatrical a true story and the usual Imax mission of imparting information about the natural world in an entertaining way for families.

Though it isn't the entirely original creation "Metropolis" was, Bebop is more satisfying.

An especially dramatic, if needlessly frantic, work of polemical reportage on racism in America.

Despite a reliable cast led by Scott, Patricia Clarkson and Peter Sarsgaard, the human impact is ultimately lost in a too calculated scenario.

Writer-director Montiel creates a movie of many parts that don't always congeal. Mix this with the many meaty scenes and a roster of often exceptional actors and the effect is one of a fabulous acting showcase more than a wholly finished work.

A work that continually seems on the verge of genuine excitement but sabotages itself at every turn...results will intrigue only those interested in the nooks and crannies of Mamet's career.

What sends this initially tense thriller over the precipice is a plot scheme that never knows when enough is enough.

Interplay between a jaunty Freeman as an unemployed movie star and the magnetic Paz Vega as a no-nonsense grocery store checker gives pic humanity and lift.

The effects prove extremely uneven, with sub-par touches alongside astonishing and truly unforgettable shots.

Writer-director Matt Mulhern confidently anchors his drama-comedy about an alcoholic Atlantic City pit boss with good writing and sharp dialogue. Script never treats characters as less than human.

Never really busts out of second gear.

Von Trotta’s Arendt biopic feels like a movie stuck in another era, stolid and rote, more of an outline for a dramatic treatment than the real thing.

Succeeds in displaying the physical drive and demands of cheerleading.

Never quite sure what it wants to be -- a magical-mysterious love story, a psychodrama, a sprawling family saga, or an uneasy combination of these.

The results will be received with a large, loud yawn by all but the most loyal fans of Pinter and hard-working co-stars Michael Caine and Jude Law.

Although this "Sopranos" writing vet delivers several flashes of that show's dark humor and irony, the pic leaves a hollow feeling at the end.

Latest pic directed by Gil M. Portes, could be called "To Madam With Love"; vet Filipino helmer is out to open maximum tear ducts with sentimental tale.

Coming in the wake of the physically astonishing "Bad Boys 2," S.W.A.T. seems square.

Seldom boring but also rarely electrifying.

A pleasantly tuned vehicle for R&B star and budding actor Usher.

Mere recitation of homilies for better living -- which is what Nick Nolte's gas station guru imparts to a struggling young gymnast -- and a half-baked account of the athlete's comeback are no substitutes for a complete movie.

Despite fine casting...familiarity sets in and lack of surprises directly lessen what could have been emotionally gripping.

Contains most of the elements of a "Get Shorty"-type romp without the character depth and wit.

In the end, under-realized direction and characters deliver less than a full deck.

Uma Thurman, a female superhero with emotional problems and dating issues, doesn't so much fight the forces of evil as battle the wit-starved movie's torpor -- indeed, her perf suggests what the entire film might have been.

The 2003 edition written by Nat Mauldin and Ed Solomon and helmed by Andrew Fleming places the Douglas-Brooks combo inside a much more complicated if not quite as funny world.

You'd half expect the Xbox logo to pop up on the credit roll for XXX: State of the Union, since what's on view is closer to a videogame than a movie. While that will be music to the ears of young gamers, it's noise to anyone hoping for a coherent action movie.

Ultimately implodes, letting down the 'hood, hip-hoppers and Jamie Kennedy fans looking forward to his first major starring role.

The cool hand of Canadian writer-director Jeremy Podeswa proves a disappointing match for Fugitive Pieces, a generally dull and unmemorable adaptation of Anne Michaels' extraordinary prose-poetry novel.

Bridges gives the movie its only genuine pulse as a gym coach known for his hard and manipulative ways.

Campbell's performance is attuned to the extremes of unnerving calm and intensely erotic; unlike the pic, she pulls it off.

Pic's not-so-hidden agenda is to promote the fusion of science and New Age religion, making it a close cousin to ventures as Bernt and Fritjof Capra's "Mindwalk."

Mexican-born helmer Alejandro Monteverde's debut will be remembered as a curious case of a mediocre film that wows crowds.

Writer-director Craig Ross Jr. offers both rigorously effective dramatic sections and terribly pedantic and melodramatic strokes of overkill.

Thesping and production values are solid and sometimes even attractive, but pic's overall American-style gloss becomes extremely odd and discomforting given the setting.

Giving Jonathan Rhys Meyers the kind of manly yet paternal role Spencer Tracy once mastered, this carefully wrought international production relates the basic story of reporter George Hogg without any vibrancy, emotion or style.

Unconvincingly attempts to update the futurist dystopian traditions of Orwell, Huxley and William Gibson.

Seems to be playing the author's music, but like a string quartet that plays a half-beat off.

Even with ties to the true story of high school hoops coach Jim Keith and his unlikely triumph with a 1960s Oklahoma high school girls' squad, the hackneyed, overlong Believe in Me is much too similar to a recent flood of inspirational basketball pics to distinguish it.

A textbook case in which the parts are greater than the whole.

Respectfully modest effort.

The picture's first 35 minutes sizzle until a Byzantine plot nudges the story toward near-parody in the final act.

Another superficial film about music from Scott Hicks ("Shine"), picture runs a distant second to the superior new film on John Adams and Peter Sellars, "Wonders Are Many," which really captures how a composer works.

It's a wipeout once the pic skids into melodrama and an overly schematic sense of how success tore the group apart.

Frustratingly fritters away what fascination it develops and bows to the basic conventions of a standard detective story mixed with the theme of a physician healing himself.

Picture's tendency to lecture on the power of faith and religion and on the demerits of science seems to assume an almost childlike audience that needs to be spoon-fed Pablum.

Not content with a straight psychological police procedural, Alvart mixes in distracting -- and unconvincing --Biblical symbolism in a curious bid for weightiness.

Michele Maher's Garmento appears more shocked at the fashion industry's cynical side than moviegoers are likely to be, making its drama of corruption a preordained snooze.

Director Mark Pellington hardly lets a moment pass without suggesting some bad vibes creeping onto the edges of the screen, but he's let down by Richard Hatem's script, based on John A. Keel's book, which delivers an ounce when it promised a gallon.

Plays closer to an after-school special (with HBO-standard dialogue) than a satisfying feature film.

While the picture's reporting on government repression of alternative cultural ideas and lifestyles is noteworthy more than anything, it's a blatant promo for Chong's career.

Saddled with more industry/celebrity baggage than a high-class safari voyage, Sahara is a rousing and only occasionally ridiculous adventure yarn.

While there's the sense that this old guy/young guy spy angle has been done better by films like "Spy Game" a decade ago, Gere, never looking tougher or handsomer, and Grace, adding some action skills to his relatively cerebral persona, invigorate the proceedings in roles that would seem to benefit the actors' career arcs.

As insistent as its heroine to get its point across, She's the Man gathers up enough energy and likeable goodwill that it almost skirts past some extremely strained passages in which Bynes plays out being a boy.

The wild, unhinged life of Andy Warhol's favorite "superstar," Edie Sedgwick, is refashioned in Factory Girl as a tame biopic with little feel for the 1960s New York Underground.

Shows both how far Hollywood's tech departments have advanced in 40 years and how shallow the pool of solid action thesps has become.

Interesting structure provides pic with plenty of opportunities for social satire, human comedy and chance encounters, but few setups are ever dramatically fulfilled.

A family melodrama that becomes less authentic as it progressively takes itself more seriously.

Though it lacks the sheer, depraved intensity of similarly themed pics like "The Gambler," Ride shares much of the sunlit sadness of "Save the Tiger," also populated by desperate, middle-aged men plying their trade in Los Angeles' garment district.

The rush of watching images made in such rare locales as Andorra and Sao Tome quickly wears thin as the montage whips through considerably meaty topics (water issues, climate change, immigration, religious faith) like an impatient Web surfer.

Functional if thoroughly uninspired movie. Because it clings to the comedy-action template of "48 Hrs.," pic feels like it could have been made 15 years ago.