Seems like a dopey idea to me, but if you aren't familiar with the Fitzgerald novel, you may enjoy this; at least Jones and his costars play the story as if they believed in it.

At 85 minutes the movie is beautifully focused, reaching deep into its characters as they confront terrible secrets but never sacrificing momentum as the mystery unravels.

Absorbing and intelligent.

I tend to approach green documentaries with all the enthusiasm of an unemployed logger, but this hard-charging digital video about genetically modified organisms kept me on the edge of my seat with its lucid exposition and frontal assault on Monsanto.

What makes the strongest impact is the superb documentary photography and the "found" audio segments--telemarketing ads left as voice messages.

Unfortunately, instead of the usual larger-than-life male figures--Marcello Mastroianni, Harvey Keitel, Bruno Ganz--of Angelopoulos's recent films, we get a distractingly vapid couple who tend to drain the emotional resonance of these extraordinary, ever-shifting tableaux.

The only characters in this formulaic crime comedy that I halfway liked were a couple of barely glimpsed wives, but the two leads keep it going through sheer determination.

If the plot seems overly familiar, Lasse Hallstrom at least directs the action with conviction and style, and his drama is greatly abetted by the scenic big sky locales.

The script is a lifeless succession of attorney-client debates and stormy horror flashbacks, though I had a good time watching Jennifer Carpenter, a comic Buffy type in "White Chicks" and "D.E.B.S.," hurl herself around as the title character.

Real-life partners Olivier Ducastel and Jacques Martineau wrote and directed this frothy sex farce, incorporating musical numbers that recall Jacques Demy; the results are middling, but the actors' verve compensates for the clumsy choreography and lackadaisical camerawork.

Kerrigan returns with his best work to date, at least in terms of narrative drive and suspense.

The darker aspects of tribalism come under scrutiny here as nonconformists (unmarried men, women alone) are shown being marginalized.

The gentle Wood isn't very convincing as a bare-knuckle brawler (which bodes ill for his forthcoming role as Iggy Pop), and the movie settles into a payback soap opera reminiscent of "West Side Story."

Evelyn Glennie has worked with everyone from Bjork to Brazilian samba groups and also gives solo concerts, and the best segments simply show her at work in her mid-30s, explaining what she does.

The original movie's lean production complemented its pell-mell fights and car chases; here, third-rate CG effects make the strained action sequences look even more improbable.

This is supposedly a big-budget production, though on several occasions the scientist hero (Edward Burns) seems to be walking in place before a rear-projection screen.

Fernando Meirelles stresses old-fashioned storytelling and takes full advantage of his cast, including Danny Huston.

This brisk, free-falling fantasy about the famous collators of German fairy tales, played here as a kind of comedy act by Matt Damon and Heath Ledger, is Terry Gilliam's most entertaining work since the glory days of "Time Bandits," "Brazil," "The Adventures of Baron Munchausen," and "The Fisher King."

Involves a team of divers exploring a vast cave system, an appropriate setting given the hollowness of the story and acting.

It isn't bad enough to be good.

The performers are fresh and offbeat, with the diminutive Peter Dinklage (Elf, The Station Agent) especially funny as a gay wedding planner named Benson Hedges.

Director Erik Van Looy skillfully profiles both the assassin (Jan Decleir, suggesting a tougher, over-the-hill version of Michel Piccoli) and the Antwerp detectives investigating his crimes.

This smart and rocking video documentary by Tim Irwin follows the trio from its origins in suburban San Pedro, California, in 1979 to the death of singer-guitarist D. Boon in a 1985 car crash, which ended his deep and creatively fruitful friendship with bassist Mike Watt.

Carell and Apatow collaborated on the script; it does manage a few laughs, but the characters seldom progress beyond the two-dimensional.

If you're willing to suspend disbelief, this is a pretty good ride.

The violence is minimal, and the humor is inoffensive enough for tots, but everything is damned soft--from the fuzzy backgrounds to the enemy's diluted Germanness.

A seamless mix of satire and suspense, with inspired performances by Toledo and Monica Cervera.

Offers the same dramatic visual style and cruel plot twists, but the mechanical retribution is even more boring.