It's hard to enjoy this when you're barraged by bathroom humor, animal stunts, and gags about a character whose memory loss is so bad he's called Ten-Second Tom.

Violence Hitch would have found way beyond what's necessary. Horror fans will find effective shivers, though.

Four stories with automatons as important characters...The last is the most touching, but all are skillfully made.

Solid acting and an intriguing plot compensate for some dull spots.

Superb performances from a nonprofessional cast. It's gripping, timely, and revealing.

The mixture of humor, suspense, and ominous undertones is effective but rarely inspired.

There's a little humor, a little suspense, and not a hint of reality. You'll tune out quickly, unless you're 11.

Like the Oscar-nominated "Seabiscuit," though, Miracle fails to ring true as it tries to make a sporting event an all-embracing metaphor for the American way.

Best when it recreates the cultural and political ferment of the era, capturing the idealism that made youths push against the social boundaries imposed on them by elders.

Intended as a parody of B-movie fantasies from the '50s, this satire more directly lampoons kiddie thrillers like "Captain Video," putting it perilously close to the pop-culture trash it aims to mock.

Enriched by allusions to biblical stories of fathers, sons, and sacrifices, subtly woven into the movie's moodily photographed fabric.

Daum travels to Poland with his wife and their skeptical sons in this documentary, hoping to prove that people who are not Orthodox Jews like them are worthy of attention and compassion.

Belvaux tells this seamy story with great energy, and gives an all-stops-out performance in the leading role. Also fine are Catherine Frot as Bruno's former girlfriend and Dominique Blanc as the addict.

Wilson is the main reason to see The Big Bounce, where he's perfect as a reasonably smart guy who often seems to have no idea what he's getting into. The other reasons are a solid supporting cast.

Isn't as funny as it wants to be, but it has a sheer pleasantness that stands out in this season of heavy-handed entertainments.

Don't miss this harrowing movie if you're in the mood for adventure more thrilling than anything Hollywood has to offer these days.

As soon as I finish writing this review, I'm going to try traveling a few hours in the past. That way, I can improve my life by skipping this movie!

Wong has acquired a loyal cult following over the years, and Dupont's exquisitely filmed episodes show why.

Siegel calls it a talking-heads film about the talking cure, and that pretty well sums it up. The nonfiction scenes are most interesting, and could have easily sustained the whole picture.

Weak acting, even by Hoffman. Aniston is so far above this material she should never, ever have signed on.

The movie is as adolescent as it sounds, but Kahn keeps your eyes popping with truly nonstop action and some of the most outlandishly inventive effects you've ever seen. And of course Cube is so supercool it's worth the price of admission just to watch him.

The analytical discussions don't run very deep, but eyes will shine and toes will tap whenever this picture is shown.

The story is sweet by animé standards, although it has harsh elements as well.

A third aspect of The Tracker is less successful. In a badly calculated move, Mr. de Heer and singer Graham Tardif fill the soundtrack with songs full of clichés, platitudes, and truisms.

Like its subject, the movie is a tad overzealous, but often fascinating and revealing.

May find some fans among female teens. But even they may decide the project cares more about quick profits than real entertainment value, since the signs are hard to miss.

In addition to its own merits as a social and cultural document, Broomfield's film continues the welcome trend of more and more nonfiction movies finding their way to theater screens and attracting wide general audiences.

Like all masterpieces, it speaks to later ages as powerfully and intelligently as to its own.