Ruthe Stein

Karyo -- a big star in France but little known in this country -- has Steve Martin's knack for keeping his dignity while doing outrageous slapstick.

Out to Sea has an emotional pull that is much stronger because it is so unexpected. You come for the laughs and find yourself wiping away tears.

Shoot 'Em Up is not only the title of Hollywood's latest descent into nonsensical mayhem but pretty much sums up the entire inane plot as well.

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

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.

As uneven as I Think I Love My Wife often is, it still has an emotional resonance lacking in most films about relationships. By dealing with temptation in even a quasi-realistic way, it affirms that, like comedy, monogamy is hard.

You can be 100 percent in favor of rescuing adorable orphans from war-torn zones and still find The Children of Huang Shi a tough haul.

Worth seeing.

Filled with moments that will make you smile.

An unfortunate casting decision, however, comes close to sabotaging a witty script.

The star's amusingly inventive performance keeps your attention through predictable early scenes when "Ohio" repeats familiar material on women's sexuality. It's like a continuation of "The Vagina Monologues" to see Liza Minnelli, as a New Age orgasm coach.

A noble try that disappoints.

The dreary teen drama Step Up appears to be cobbled together from bits and pieces of successful movies.

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 tearjerker that earns its sobs with heartfelt emotions.

Unfortunately, Hotel de Love also has all the originality of an all-purpose valentine. First- time filmmaker Craig Rosenberg appears to have seen every relationship movie ever made. To his credit, he borrowed only from the best.

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

While still trumpeting human ingenuity, the new movie lacks the subtlety, character development and exceptional ensemble acting of the 1965 version.

An annoying little film that attempts to be lascivious but is merely ludicrous.

High-gloss trash but compulsively watchable.

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.

Wildly uneven, with long stretches as dull as Dickie.

The last half is so superior to the first that you wish they'd rethought the whole thing and devised a way to make it more of a one piece.

For all the precision shooting, Autumn is a colossal misfire, a tedious film noir wannabe. It doesn't even qualify as film gris.

Another romantic comedy about a career woman who has everything except a man, is Jennifer Aniston's attempt to break out of her TV role. But she doesn't have the magic on the big screen to make us forget where she came from.

A bigger mess than the gas crisis.

Fun to watch although falling short of a real hoot, this latest in a barrage of family movies largely succeeds at keeping the kiddies entertained and their parents from nodding off.

Feels like a personal vendetta.