Ruthe Stein

An enticingly risque saga of the 16th century monarch.

A highly amusing combination period film and mockumentary.

A feel-good movie.

Sweet and deeply moving.

Opens up a world of words.

For all its dazzling computer-generated sequences, "Museum'' wouldn't be nearly the delight it is without the talents of some of the best comedians in the business.

A well-deserved 2003 Oscar nominee for best foreign-language film.

It's reassuring to see Steven Soderbergh return to riveting down-and-dirty filmmaking with Bubble.

It's visually stunning, especially in scenes of the African countryside, and takes more risks than most independent films.

For all the squalor and extremely upsetting subject matter, you can't take your eyes off the screen.

Wildly imaginative if extremely strange.

Passes by like a dream.

That Duncan can't come up with a satisfying ending and lets the story drift into a confusing polemic is hardly surprising. He's guilty of overreaching -- interrupting his very sly satire with quasi-serious thoughts on the end of Soviet communism.

The result is a film that fails to completely involve you, even as you admire its artistry.

If the formula seems a little tired, it still has more sophistication and pizzazz than most action films.

Force of Evil is a more thoughtful kind of film noir than we are used to but still employs the traditional black-and-white contrasts and shadows.

This is by no means a polished film. But it has an energy lacking in thrillers that cost hundreds times more to make. It should be viewed as a calling card from gifted and resourceful filmmakers whom I hope some Hollywood producer will have the sense to sign up immediately.

You never catch Gosling doing anything out of character. It's the first Oscar-caliber performance I've seen so far this year.

Sam Garbarski's use of slow-motion shots is pretentious, and he paces the film too slowly. But he captures the seedy side of London, giving you a feel for Soho during the day when sunshine exposes a cheap gaudiness.

The result is a deeply moving experience, alternately funny and sad.

Overall Freedom Writers is a noble effort. At a time when New Year's resolutions to change already are falling by the wayside, you can't help but be moved by a group of young people who followed through on their resolve.

Nightmare-inducing.

Vivid and madcap but fails to connect on any emotional level.

Reprise has a smart and knowing script and will compel audiences to reflect on themselves at that age.

The Rainmaker has a mostly plausible story, an engaging young courtroom hero (Matt Damon, Hollywood's new cover boy), a giant insurance company as the perfect adversary and the best supporting cast of any movie this year.

At its exhilarating best, Following Sean is reminiscent of the lauded British documentaries that began with "7 Up.''

Black Snake Moan' is a trip to that unfamiliar territory well worth tagging along on.

While hardly glorifying abusive husbands, Take My Eyes, a mesmerizing and deeply disturbing film from Spain, makes an attempt to understand their thought processes.

Compelling.

A richly satisfying and darkly funny movie.

The filmmakers succeed with an unexpected ending. It's as fresh as everything in the movie, which turns out to be about so much more than one youngster's resilience.

Trumbo is welcome just to bear witness to the severe consequences meted out to one man who dared to do the right thing.

Except for an ending that's so implausible it might have derailed a less solid work, Twelve and Holding is a realistic and sympathetic portrayal of what it's like to be young and confused

Don't Tell often has the eerie feel of a Hitchcock film -- "Vertigo" in particular -- where you're not always sure if what you're seeing is really happening.

Worth seeing.

Good in their individual scenes, Yakusho and Kusakari are magical together. They convey so much yearning -- not so much for each other as for that extra something to give real meaning to their lives.

That the would-be buddies are played by Harrison Ford and Brad Pitt ensures enough star power to keep things moving even during the sluggish early scenes that set up their relationship.

Proceeds at that pace to an ending that is as inevitable as it is poignant.

A disturbing drama about the dehumanizing and humiliating effects of war.

All along, you know something terrible is going to happen, and when it does, you leave the theater shaken and deeply moved.

Viewers will be swept away by the beauty of individual moments and by Ivan Barnev's extraordinary performance.

Funny, original, occasionally poignant and almost all of it too dirty to repeat in a newspaper.

Compelling and deeply disturbing.

Still feels stagebound, inert when it needs to be cinematic.

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.