In the end, it demonstrates all over again the virtual impossibility of doing Nabokov justice on film, because his work is so resolutely and brilliantly made of words.

When Circuit is on its game it's very telling and where it's at its best is detailing just how difficult it is for men so hedonistically self-involved to love one another.

A film worth your time, and if you know going into it that there's no closure, it'll give you all the more freedom to enjoy what IS there.

Sometimes it bounces along, other times it feels forced. Kids and hardcore fans will love it regardless, and those who don't will nonetheless be talking about it for the next three years.

Most of it is incredibly, gleefully crude and tasteless, but it is also good-natured and harmless, and there's a pretty good chance you'll find yourself laughing.

Like all films constructed out of pop-culture effluvia, Zoolander runs the risk of being so last month; this is a movie that treats Fabio as the ultimate punch line and regards David Bowie as the prince of style.

It has its moments, but they never add up to a record you'd want to play again and again in its entirety.

Nunez's direction is as self-consciously homey as a floral welcome mat.

Nowhere near as bad as distributor New Line seems to think.

It's composed of really long scenes that are mostly dialogue, with transition action imagined or implied only. Couldn't we go outside for at least one scene?

It's a feel-good movie that happens to have a lot of feel-bad in it. The gratuitous violence sucks, and the pat conclusion prompts one to shout don't believe the hope!.

Since the movie arrives and succeeds as entertaining B-movie fare, we may as well appreciate all of its howls, beastly or unintentional.

It's the usual struggle of growing up and growing old, but Muccino's twists are plucky and revealing when he's not suffocating us with heavy-handed mortality and pathos.

Morrow the actor tries too -- but he's a stylish director with a steady hand and a shaky eye (the scenes from Lyle's tortured point of view are dazzling, if not a bit unsettling). It'd make one hell of a TV movie.

Star Jeremy Renner seems shorter than Dahmer, but is otherwise a look-alike and gives a convincingly intense and weird performance. Bruce Davison (as Papa Dahmer) and the rest of the cast also do nice work.

Isn't as funny as it should be. Cedric's speech impediment only goes so far -- he's actually funnier in Serving Sara, without having to rely on a big wig to do his acting for him.

If you like stuff breaking in THX, Swordfish delivers like no other this year. Bring earplugs.

This innocuous, frothy fairy tale isn't so off-putting as you might imagine, thanks in large part to Andrews' ageless charm.

What's somewhat ironic about Bread and Roses is that it's bound to be more interesting to people outside of L.A. than in it.

Startlingly, this is not the trite beer commercial one might expect.

You can see all the jokes and heart-tugs coming a mile away. But writer Joseph A. Ciota and director Frank Ciota have a light touch. And they have a real find in their leading man, Eddie Malavarca.

Not a film for everyone, but if you're in the mood for a little sensory overload, some spirited intellectual gymnastics and an introduction to the most intriguing new actress Europe has produced in years, get in line with the rest of the thrill-seekers.

If you're not in the mood for explicit discussions (and occasional depictions) of the sex life of French adolescents, close your eyes.

That Osmosis Jones plays like a sloppy hodgepodge is no surprise: The live-action scenes were done by the Farrellys, the animation by Sito and Kroon (whose names sounds like bodily functions), and the script was penned by another first-timer, Marc Hyman. Nobody seems to be on the same page.

May display an energetic and promising talent, but it is also uncomfortably close to being a 105-minute music video, with all the problems that suggests.

The story's a trifle, but it's consistently edgy as the team stride straight into the middle of grisly violence so they can capture it on film.

Don't go to this movie looking to be actually scared, but as a gothic romp it's surprisingly effective.

Like so many other allegedly scary movies, it gets so tangled up in The Twist that it chokes the energy right out of the very audience it seeks to frighten.