Ruthe Stein

To the extent that this difficult but ultimately rewarding film has a message, it's that you can't run away from who you are.

Quietly unsettling.

Has a certain charm and is sure to appeal to tweens, at least the female variety.

Hogwash and not even funny hogwash.

It looks like a low-budget film, but in this case that just adds to the charm. Croghan's only false move was to divide her film into segments, each one introduced by a quote from a famous writer.

The very best thrillers -- a select group to which The Clearing clearly belongs -- exploit subconscious fears that bubble up at vulnerable moments.

The humor manages to be simultaneously sophisticated, supremely silly and very dark.

But the jury is still out on Romano's future in movies. Hackman blows him off the screen.

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

Lacks the marquee names and production values of big studio romantic comedies, but it connects on an emotional level most of them fail to do.

As the title character in Lady Chatterley, Marina Hands does the most persuasive job of feigning sexual pleasure since Jane Fonda in "Coming Home."

The movie harks back to a time before state-of-the-art technology when writers and directors had to rely mostly on imagination.

Lumpy.

Surprisingly robust.

Lacks compelling narrative.

To label the parents in Wah-Wah dysfunctional doesn't adequately describe their wildly inappropriate behavior.

The real wonder becomes how British filmmaker Sandra Goldbacher was able to write and direct such an accomplished, touching and original movie her first time out.

Sharkboy relies almost entirely on 3-D for its kicks. The novelty, however, quickly wears thin with the thinnest of stories to project.

A turkey.

The desperation TV stars must feel to be on the big screen is the only explanation for Edie Falco and Elisha Cuthbert's appearance in The Quiet, a creepy family drama that reeks of pretentiousness.

This is familiar territory for writer-director Nancy Meyers, Hollywood's queen of the chick flick. Her latest has charming moments and a hopeful message for despondent singles, but it lacks the emotional resonance of Meyers' "Something's Gotta Give" and the zaniness of "What Women Want."

Sitting through Diggers is so tedious that you might find yourself envying the clam diggers. At least they get to be outdoors.

Distressingly predictable and not a tad scary. But as a parody of the genre, it's a scream, like the "Scream'' franchise, only funnier. It's as if all the ingredients for a thriller coagulated into Silly Putty.

Riveting.

Immediately has you in its thrall and doesn't let go -- a reminder of how powerful and moving cinema set in wartime can be when all the elements align.

Although based on a fictional story, it has the feel of truth and is a vivid reminder of the hell Mexicans put themselves through to live in the United States, even illegally.

Jodie Foster and Terrence Howard are incredibly compelling and hold your attention despite Jordan's deliberately slow pacing.

Both actors are so appealing, you root for the inevitable meeting to happen somewhere in the vicinity of Wonderland.