Contains all of the hallmarks of classic genre Spielberg: It shows you things you've never seen before, instills an accompanying sense of awestruck wonder, and delivers long stretches of heightened, delirious excitement that remind you why people started going to the movies in the first place.

When Ephron gives Ferrell and Kidman a musical number that's supposed to be sweet and uplifting, the movie feels downright creepy.

A perfectly adequate horror romp, but it's hard to imagine anyone remembering it five years from now.

The result is an eye-opening social portrait in the tradition of "Paris Is Burning," the landmark 1990 documentary that introduced drag balls and ''vogueing'' to the mainstream, but it lacks the earlier film's structure and focus.

If nothing else, Yes is certainly a brave experiment.

Concise and intriguing.

One of the great pleasures of the original Love Bug comes in watching all the live-action stunts, and CG just isn't the same.

Embarrassingly shoddy film.

Me and You and Everyone We Know brings to mind the work of happily downbeat, bad-boy provocateur Todd Solondz (Happiness, Palindromes), but July is more kind to her oddballs, although she displays a disturbing aptitude for perversity that Solondz would applaud.

The movie is enchanting yet strangely menacing, and it becomes clear that Pawlikowski is no mere love fool.

Batman Begins is a mature take on material often relegated to the kiddie file, and it's simply the latest proof that, when treated properly, comic books are a viable art form for all ages. Bring on the sequel.

It's a perfect role for Jolie, whose seductive looks always seem to be concealing something dangerous, even predatory, and she brings out a looseness in Pitt, who fares much better in comedic roles than when playing things straight and stoic (i.e. Troy).

What's missing is some faith in the audience's intelligence and, more importantly, the jokes.

Even if you don't buy the ending, however, High Tension makes for ghoulish, sick fun, and Aja, who is already at work on a remake of Wes Craven's The Hills Have Eyes, clearly takes this horror stuff very seriously. The genre can always use a few more like him.

The result is like a low-rent "Wizard of Oz" or "Labyrinth," sticking close to the formula of a kid who falls asleep and wakes up in a fantastical wonderland where everything's just a little bit off.

The movie is practically incomprehensible.

Smashing, supremely engrossing picture.

Too much of Lords of Dogtown still feels conventional and sugar-coated.

The tug of war for Caterina's political soul is left open-ended, and her relationship with her difficult father is resolved with a plot twist that feels completely out of character. Caterina deserved better.

The cast brings its by-the-numbers characters alive.

Whether you'll enjoy this loud and rowdy remake of a 1974 Burt Reynolds film depends on your tolerance for three things: football, Adam Sandler and unabashed product placement.

Often feels like a cartoon that wishes it were live action.

The Ninth Day is far from perfect, but is still thought-provoking and intriguing, a film that can begin its own kind of debate.

Just plain fun. Don't miss it.

For all its doom and gloom, Revenge of the Sith turns out to have a happy ending after all, giving Star Wars the send-off it deserves.

Crushingly inept family comedy.

A fairly tedious, stupid picture.

The documentary Mad Hot Ballroom is packed from start to finish with adorable kids doing cute things: Rarely has a movie, fictional or not, had this much awwwww factor.