V.A. Musetto

Despite its stomach-turning images (and maybe because of), it is a daring, provocative work by a talented helmer who gets off pushing the envelope. He should be supported, no matter how outlandish he gets.

The actors can't escape the confines of the warmed-over, coming-of-age-in-suburbia script by Mills, from a novel by Walter Kirn.

Algenis Perez Soto was a baseball player in real life, which helps to explain his sensitive, understated performance as Sugar. But he's let down by a manipulative script recycled from dozens of sports and immigrant movies. At least it dispenses with a Hollywood ending.

Days of Glory has good intentions and a well-executed combat scene, but it could do with more originality.

The news footage, so powerful on its own, needs no enhancement. The dramatized scenes only slow the film's momentum.

The screen comes alive only at the end, when a frightening tornado destroys the seaside village.

A sweet comedy with a bright cast and few surprises, the film did well in China, where it was aimed at teenagers. Since Hilary Duff isn't in the cast, its success probably won't cross over to America.

Scenes of the probe are less successful. They feel contrived, and actress Lee Yeong-ae is not especially effective as Major Jang.

Vincent Bal's film should appeal to kids, cat lovers and felines. I give it two stars, and my cat, Audrey, gives it three meows.

Caramel, by the way, gets its name from a blend of sugar, lemon juice and water that is boiled until it turns into a paste used to remove unwanted hair in the Middle East.

Matthews is supposed to be the star here, but it's Englund's hilarious, over-the-top performance that keeps Jack Brooks: Monster Slayer, by director Jon Knautz, from becoming another forgettable exercise in horror.

Albert elicits good performances from her cast, but she fails to give viewers reason to care about their characters.

At nearly two hours, Big Man Japan is clever (in a sick sort of way) but overlong. It needs judicious editing -- more mockumentary, fewer superhero antics.

Direction of all three films is no more than workmanlike, which isn't surprising since they were originally made for British television. The acting, on the other hand, is sometimes superb.

Pleasant but lifeless love story.

Uninspired in style, and Joan Allen's narration is dry.

Pity that the direction and narrative lack passion. If there's anything a story of interracial adultery needs, it's passion.

Buck is best left to TV, where it will land soon. It's "The Horse Whisperer" that should be seen on the big screen.

Too-convenient coincidences hurt the movie's credibility. A melodramatic script best left to cable TV doesn't help, either.

There are moments of fun (an aphrodisiac-laced dessert, for example), but generally the humor seems warmed-over.

All this is loads of fun, but after a while sensory overload sets in, dulling the mind. Even in a kung-fu flick, more isn't always better.

The story is told in fractured time. This might not be a problem if his visuals were more fear-inducing.

Sadly, with the Soviet Union gone, the art faces a new enemy: Islamic extremists.

Will Marcela (wonderful Ana Geislerova) opt for brains or brawn? The answer might surprise you.

As directed by Ole Christian Madsen, the thriller features well-choreographed shootouts and assassinations. But the script is too melodramatic and complicated for its own good.

As a history lesson, Oswald's Ghost is valuable, but don't go expecting any new revelations.

Johnny Depp puts in a cameo declaring that "most Americans believe the clichés about Gypsies." Unfortunately, the well-intentioned film never gets beyond clichés itself.

Mirikitani is a colorful character and talented artist, and his story tugs at the heart. Problem is, Hattendorf insists on inserting herself in what seems like every other scene, a device that dilutes Jimmy's story.