Sandra Bullock and Keanu Reeves are both such guarded celebrities that I have a hard time imagining them as lovers, a problem this Chicago-based romantic fantasy surmounted by isolating them from each other almost entirely.

Mike White contributed to the script, and though he shares with the Hesses an innocence that can be both sweet and slightly grotesque (e.g., Chuck and Buck), his influence is most evident here in the conventional plotting.

Directed by George Bamber from a witty screenplay by David Vernon, it veers between screwball farce and feel-good sitcom.

Toledo is very funny, and there are some hilarious comic bits, but writer-directors Dominic Harari and Teresa Pelegri drag in several distracting subplots, turning this 2004 Spanish comedy into a scattershot affair.

This is mildly entertaining, though like the puzzles themselves, it favors diversion over wisdom.

At 116 minutes, it's a test not of speed but endurance.

Good-humored and enormously entertaining but also sentimental and a little dishonest.

This scathing study of middle-class angst plays like a cross between Buñuel and Almodovar, but the satire never achieves liftoff despite the actors' best efforts.

McGee has taken Hitchcock's idea of the MacGuffin to such an extreme that the plot becomes a set of nesting dolls with nothing at the center, but the players conjure up a smoky mood of existential sadness.

The intimate performance footage ranges from more traditional sounds to Turkish iterations of global styles like rock, hip-hop, and electronica, delivering commentary on the nation's conflicted status as a bridge between Europe and Asia that's even more poignant than the passionate and informative interviews.

The resulting movie (2005) covers seven years and touches on some of the same social issues that gave "Hoop Dreams" its epic sweep, yet Serrill fails to treat any of them adequately, and the narrative loses its shape as events unfold.

This harmless comedy by Steven Mallorca comments wryly on America's weird hybrid culture, but the characters are too broadly drawn and the story drags in the last third, just when it should be hitting comic warp speed.

The director's familiarity with silent cinema enhances the prudish pornographic footage, but when he starts cutting between separate perversions, I began to wonder if he was getting as bored with the material as I was.

This new version is an almost scene-for-scene remake, which is good news in the first half and bad news in the torpid second.

It's full of pain and quirky characters standing at oblique angles to one another, and while it doesn't add up it held me throughout.

This is every bit as silly and adolescent as you'd expect from Besson, and about as contemporary as "The Perils of Pauline." But I was delighted by the balletic and acrobatic stunts, some of which evoke Tarzan.

Watchable exercise in Zen hokum.

The best documentary to date about the military occupation of Iraq.

The movie may not amount to much, but the genial tone and exceptionally good performances from the three leads make for a winning debut by the Duplass brothers.

Eventually develops into a pleasantly bombastic Bond-style adventure.

Shot in beautifully textured black-and-white video and then transferred to film, the movie has an intoxicating, sexually charged rhythm and seems sharply attuned to the lives of the impoverished black musicians, singers, and dancers who perform at the club. Unfortunately, it's poorly structured, and the absence of a unifying shape significantly blunts its impact.

A tired, generic crime story.

Despite all the grand gestures of climax and resolution, there's a pronounced sense of autopilot; the only person who seems to be having a good time is Ian McKellen as the scheming Magneto.

The humor loses momentum as the cleric shuns her advances, and the action grows frenetic following the arrival of his twin brother, a macho general.

An Inconvenient Truth may not save the planet, but it's already gone a long way toward rescuing Gore's public profile.

This narrative feature debut by Emmanuel Carrere, based on his own novel, is deliberately open-ended, but however one interprets the outcome, the film reminds us how fragile intimacy is.

Screenwriter Akiva Goldsman (A Beautiful Mind) pelts the viewer with so many factoids and allegations about the early Catholic church, goddess worship, the Crusades, painting, cartography, and code-breaking that the movie's big revelation turns out to be neither grand nor shocking.

The final showdown, in which the critters tangle with security-rigged lawn flamingos and garden gnomes, would have made Rube Goldberg proud.