Fairly predictable, but the two leads' impressively nuanced performances make it less so, and Berri makes skillful use of both actors.

Stark, mysterious, and often weirdly funny.

This typically bloated production from Jerry Bruckheimer is good swashbuckling fun for the first few reels but eventually slows to a halt under the weight of too many doubloons.

The heaving computer-generated sea swells doesn't match the conventionally animated characters. The action scenes are too antic, but directors Tim Johnson and Patrick Gilmore serve up a sweet romantic subplot.

Unfortunately, after the well-honed psychological melodrama of its first half, this wanders off into the metaphysical territory of Ingmar Bergman's "Persona" (a much better film).

Like the first movie, this has some cute gags but collapses like a soggy paper plate because it can't decide whether to mock or celebrate the heroine's shallow materialism.

Less about the characters than about the first two movies, whose best scenes it congeals into ritual or parody.

Its numerous ancillary characters are so closely observed that even those without speaking parts register as people, in a manner than blurs the line between strangeness and intimacy.

Most of the action in this 2001 indie drama takes place on computer screens, with grainy faces framed by sharp little boxes; the 21st-century conceit is topical enough but the characters and their problems couldn't be more stale.

Fresh and edgy; the images of a wasted London and the details of a paramilitary organization in the countryside are both creepy and persuasive.

The main reason I enjoyed this high-powered action flick and its 2001 predecessor is their willingness to poke fun at the premise of crime-fighting dolls, even though it now has more currency than ever.

The actors make this fun if you can overlook the ludicrous view of Jeremy Leven's screenplay.

Comes closer to deification than dramatization--a shame, since the film offers some powerful set pieces and jaw-dropping spectacle.

The real star is the splendid computer-generated Hulk, though his King Kong-like story is compromised by the need to keep him around for the inevitable sequel.

The best thing I can say about this limp prequel to the Farrelly brothers' Dumb & Dumber is that it obliged me to check out the original, which I'd been studiously avoiding for years. If you haven't seen it, it's pretty funny, and mercifully light on the scatology and cheap sentiment of later Farrelly efforts.

At times the plot developments in this post-Tarantino story seem so random they suggest automatic writing, but the characters and some of the settings kept me interested.

Estrada references Welles throughout with his low-angle deep-focus shots, grotesque close-ups, and brassy sound track. The actors are uniformly excellent, embracing their arch roles without succumbing to caricature.

This frantic sequel finds the diaper-obsessed heroes and their foolish parents marooned on a desert island, where they encounter the family from a more charming Nickelodeon cartoon.

Though its ending feels protracted--especially the climactic chase--it kept me reasonably distracted.

Commendable as pop history but fairly opaque as drama.

Its intelligent characterizations make it one of the best movies I've seen this year.

Franky G.'s performance as the protective yet combustible older brother is as real as it gets.

Binoche is especially effective playing a character that seems to have as many layers as her makeup.

Their relationship is so subtly inflected with fear, envy, and self-loathing on both sides of the class divide that I was drawn in nonetheless. Brody is a compelling presence throughout.

The Pang brothers rely heavily on visual razzle-dazzle (courtesy of cinematographer Decha Srimantra) and startling sound effects to work up the scares.

Without Diesel's brooding lunkhead presence it's more like "1/2 Fast 1/2 Furious."

Utterly fresh and beguiling.

Fascinating documentary.