Ruthe Stein

This movie borders on the ridiculous, but is pulled back by an aesthetic portrayal of the supernatural and by its stars.

Considering the talent on both sides of the camera and a story that worked beautifully the first time around, Shall We Dance? should have been a lot better than OK.

The problem with this one may be that it just isn't British enough.

A junior version of "Fight Club," only with no movie stars and different moves.

If you can still be entertained by a thriller that unabashedly borrows from others of its ilk and don't mind reading subtitles, you could do worse than District B13. It's over so fast, in a quick 85 minutes, there's scarcely time to get bored by the silly plot.

The ending is predictable to anybody who's followed the trajectory of outsourcing. Outsourced humanizes those affected by it - even if the story sounds familiar.

Becomes tiresome.

Vanessa Redgrave makes a regal if too-brief appearance.

Hanssen is such an enigma that any attempt to explain him has inherent interest. Breach expends too much energy on a minor functionary, but it is still worth seeing for its fleeting looks into a heart of darkness.

Intermittently funny.

Sleuth"is that rare film that would have been better longer. You're not through looking at Caine and Law when the final credits roll.

It's a first feature film for both screenwriter Alex Rose and director Gaby Dellal, and their inexperience shows in Frank's underdeveloped relationships with family and friends and in the movie's sluggish pacing.

With Lloyd Webber onboard not just as composer but also co-screenwriter and producer, the film seemed destined to stay true to its roots rather than attempt to transcend them.

Overly long and not especially enlightening film.

A mishmash of a musical. The movie never gels -- despite Kline's nuanced performance, the stars' exquisite period clothes, designed by Armani, and, of course, Porter's great songs.

A sweet, bordering on saccharine, comedy.

The film is better than it has any right to be, considering the prosaic source.

While dinner and a movie is in theory a great idea, I'd avoid eating before taking in Lunacy.

I'm not denying that a 40-year- old woman might be self-conscious about going around with someone this young. But the subject isn't interesting or provocative enough to sustain an entire movie.

Has the slapped-together, cheesy look of a porno movie. While this could be distracting, the shoddiness sets the mood for a humorous spin on the European porn industry circa early 1970s.

The movie is unable to achieve lift-off and transcend the formulaic stuff coming out of Hollywood, despite the perfect casting of Uma Thurman.

A sequel arrives for Valentine's Day with the unwieldy title Step Up 2 the Streets. If it performs as well, watch for "Step Up 3: the Sprained Ankle."

Suffers from Resnais' inability to open it up and give it the look and pulse of a film.

It's amusing in a trashy sort of way.

That Pride ultimately gets to you is more of a surprise than the outcome because it's not very well-constructed.

Visually, the film is a stunner, dotted with psychedelic colors and many shades of red -- one battle is fought with red laser-gun sights -- some looking realistically like blood. When gangsters open fire, their falls are choreographed like a ballet. The problem comes when the cast opens its mouth and Elizabethan dialogue tumbles out.

This harmless bit of fluff lacks the element of surprise but is not without random charming moments supplied by its incandescent star.

Well-intentioned but frequently inert.