Robert Koehler

Imposter is a penny-pinched "Blade Runner," a stubbornly unexciting ride into the near future.

Brimming with cinematic confidence, cynicism, chutzpah plus dramatic bungles, Andrew Niccol's ambitious Lord of War views today's international arms trade through its anti-hero.

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.

Film struggles to balance its past-present memory drama and a rather standard take on an American immigrant family. Although accented by fine cinematic flourishes, pic is harmed by an abrupt conclusion and technical glitches.

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

Plainly disappointing as a well-sustained kick-butt thriller, and politically toxic.

Diesel makes a violent bid to align himself with the Clint Eastwood-Charles Bronson-Steve McQueen tradition, but he lacks the charisma, emotional strength and humor to do so.

The Francises are aces behind the camera, displaying an elegant sense of composition that makes their subject visually ravishing. Andreas Kapsalis' gorgeous score lends doc a grand quality.

The strain needed to extend The Whole Ten Yards a yard -- and to feature length -- is so painfully evident it breaks new pic's comedy spirit, making it a particularly dubious member of the Sequel Hall of Shame.

Picturesque pic, however, lacks even a penalty kick's worth of tension and is paradoxically inert for a movie about guys running up and down the pitch for the glory of the U.S.

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

Building his dry comedy out of a basic confusion of names, an Army recruitment slip and one man's curiosity, Jacobs creates a droll, meandering and defiantly uncommercial film.

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.

Pity the children for whom this is their intro to the world of Grimm, for while pic stays to basic outline of the original story in opening and closing sections, the large middle is stuffed with badly staged slapstick and painful stabs at hip dialogue in an arch attempt to cater to modern kids.

Sharp wit but shaky storytelling.

A vital if less than objective slice of film journalism on the U.S.'s troubled history in the Third World.

Writer-director John Hamburg does everything he can to pair up Ben Stiller's stiff, safety-first corporate man with Jennifer Aniston's free spirit in Along Came Polly, but the two are so fundamentally incompatible that story loses credibility long before the gags stop coming.

Respecting Mother Earth should never be as dull as watching Sacred Planet, a repetitive, globe-hopping Imax project that dresses up well-known ecological truisms with pretty nature photography.

Ridiculous would-be thriller.

Overshadowed by vastly superior sports movies like Invincible and hardly disguising its low-budget sources, pic isn't in any kind of shape for the theatrical leagues.

Alternately seduced and repelled by its subject, the garish and power-hungry Harlem gangster and '70s cocaine kingpin Nicky Barnes, Mr. Untouchable is one seriously confused documentary.

For a guerrilla-style, no-budget Yank indie to even tackle issues of jihad terror and naive Western thinking is noteworthy in itself, but Gamazon and Dela Llana inflame the issues with a gutsy, athletic filmmaking package that shows what can be done with a minimum of tools.

This overlong march will bore all but the most nobly patriotic.

The cop genre receives a shot of adrenaline in helmer Chris Fisher's Dirty, a no-nonsense dramatic response to the LAPD Rampart scandals of the '90s.

Archival material -- especially rare B&W Soviet footage -- is a knockout, though the assembly of talking heads, nearly all Reagan loyalists, is predictable and uninspired.

Lame and inoffensive.

Ghost throws its most powerful punch in its second half, reporting on contempo events as a direct repeat of the ghastly Leopold era.

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.