An unabashed flag-waver and one of the best feel-good sports movies ever, this authentic charmer does for its young hockey players what John Wayne used to do for the U.S. Marines, and it lifts us, too, onto the boys' cloud of belief.

The stately pacing and meandering plot often reduce this potential classic to generous eye candy.

Simmons plays it understated, conveying a sad-sack quality that's more relatable than Charley's irrational catatonia. The movie should have been about him instead.

Adding to the film's underlying sense of urgency and unease is composer Robert Miller's haunting score, so reminiscent of Philip Glass' music for "The Fog of War."

Smart, patient and ruefully funny... Yet because the film never digs too far into any single person's world, it doesn't build toward much.

A diverting mix of insight and spectacle, human and superhuman. This machine is built for kids, but rarely do words like "noble," "Hollywood" and "rawkin'" all apply to one movie.

Notting Hill offers another example of moviemakers consoling themselves about how tough it is to be famous while congratulating themselves on how down-to-earth they really are.

This infusion of warrior philosophy is the gas in Ghost Dog's tank, and Jarmusch pumps it up for maximum octane throughout.

Is it enough to make us like a thing we used to love? For most, that rekindling of an old flame will be good enough.

Tremendously funny and entertaining.

It's more like the déjà vu machine. But that does not negate this movie's copious pleasures, chief among them its prudent decision to act like it's never supposed to be more than good time, a thrilling test-drive in a car you love but can't afford to actually buy.

Indeed, in this era of muckraking left-wing documentaries, The Inheritance offers a more fascinating fictionalized look at what cut-throat capitalism can do to conscience.

Love it or hate it, you won't be able to leave it alone.

Nolte’s charisma transforms Neil Jordan's The Good Thief from a vague, mildly exotic, character-driven caper flick to a soulful and engaging misadventure.

The soul of Gladiator is made sluggish by a maddening lack of suspense.

Its tone has elements of Jim Jarmusch and the Coen brothers but without Jarmusch's self-conscious artiness or the Coens' hip snottiness.

The cast has plenty of room to emote, but their task feels a bit empty and thankless. For the most part, they're carrying the director's water.

The efficiency of his (Donaldson) direction renders the movie somewhat characterless, like a top-rank made-for-TV production.

The 3D, effective but not yet totally awesome, masks a world of sins: Ghosts can be an awfully tedious voyage-to-the-bottom-of-the-sea.

Slither is what it is, unapologetically, and unlike Gunn's work on "Dawn of the Dead," it's probably too weird to be a crossover hit. Either you've got worms in your heart or you don't.

A surprisingly good film, not quite original but smart, careful and steadfast in its dedication to its characters.

This project is not the last word on Fellini, nor does it replace the director's bizarre self-portraits in Intervista or the TV special A Director's Notebook. It even irritates a bit, as none of the speakers is identified until the end.

The scares early on are potent and get Stir of Echoes off to a chilly horror-movie start.

This would be 10 times the movie if it featured an actual debate between Moore and Bush. Nonetheless, the man makes a remarkably strong case, tastefully inserting himself into the Bush-baiting only when necessary--one such stroke of brilliance involves personally urging congressmen to send their own kids to Iraq.

Last Days shouldn't be half as engrossing as it turns out to be.

It almost plays like a darkly comic "Peanuts" special.

Those seeking a spiritual counterpart to the yin of Lynne Ramsay's masterfully moody "Morvern Callar" will find their yang in David Mackenzie's exquisitely sorrowful Young Adam.

We have a whole new reason to appreciate cinema's most creative chameleon (Depp) since Peter Sellers. The film itself is pretty and sweet but a tad soggy.