Steve Simels

Not only one of the most spectacular cartoons ever made, but also a reasonably adult piece of sci-fi.

The cast is aces, and Peter Morgan's screenplay is both very sharp on male sexual politics and crammed with enough comic twists and turns to keep you interested.

One conclusion is inescapable. You have really seen something you don't see every day.

Has an interesting look, several sensational performances (notably from Kyle MacLachlan and Liev Schreiber) and in general works far better than it has any right to.

Has a giddy silliness that's thoroughly endearing.

Stylish, exciting and an occasionally poignant sci-fi adventure spectacle.

A very funny superhero spoof.

Cudworth's script gives the characters more depth than is the genre norm, and the ensemble acting is terrific.

A charming, technically sensational version of E.B. White's children's classic.

But there's a vaguely self-congratulatory tone to the screenplay that's a bit off-putting.

A smartly stylized hoot.

The acting is similarly accomplished across the board, though it must be noted that Currie nearly walks off with the film: He's the funniest preppie seducer since Tim Matheson in "Animal House" (1978).

Glacially slow going.

The film delivers some genuine laughs — Diggs and Anderson are a hoot throughout — and real rapper Snoop Dogg all but steals the picture with his brief voice turn as Ronnie Rizzat.

Sally Field has actually made a likeable movie.

Mildly amusing and as obvious as it is good-natured.

While not for every taste, this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the National Lampoon film franchise.

You have to have a certain affection for any movie in which a stressed-out Mother Nature announces ominously, "Don't mess with me -- I'm pre-El Niño."

Charming, low-key ensemble comedy that recalls the films of both John Cassavetes and Woody Allen, which is to say it's a loosely structured, quasi-improvisational saga about a bunch of New Yorkers obsessing about relationships.

It may not be as epochal a piece of work as "Mean Streets," but packs what feels like a real-life punch none the less.

If this were a more mainstream film with a shot at a wider audience, we'd probably be talking Oscar nominations for Futterman and Ball.

A reasonably entertaining way to kill an hour and a half.

Without question the breeziest viewing experience now available at a multiplex near you.

This mix of sweat and uplift in the Civil Rights era doesn't quite come off, despite some strong performances and the fact that it's based on a genuinely inspirational true story.

Vince and Cesar have been written to evoke equal audience sympathy, so there's no suspense whatsover in the outcome of their climactic match-up, the brutal realism of Shelton's staging notwithstanding.

Comic Tommy Davidson, in particular, is hilarious as gangsta rapper Puff Smokey Smoke, who falls for Juwanna and then, in a twist lifted directly from the queen of all drag farces, 1959's "Some Like It Hot," decides he still loves her after she's exposed as Jamal. After all, nobody's perfect.

Your ability to overlook the film's myriad contrivances will ultimately depend on how you react to little De Roma.

Fans of cheesy '70s TV shows will also be pleased by Wonder Woman Lynda Carter's brief cameo appearance as the governor of Vermont.