It's moving; but it's also endlessly engaging, uproariously funny at moments, informative, and eventually touching in ways one might not have expected.

The real star of the film is the food, which is sliced, diced, shredded, rolled, sautéed and fricasseed to mouthwatering perfection.

On one level, Together is a countercultural soap opera, though played more as bittersweet comedy than as drama.

Rife with silliness, such as the flashbacks within flashbacks of characters who were not with one another at the time, and occasional unintentional laughs -- but it's also a good, raucous kick in the behind, which is literally all it aspires to be

Maybe Baby is Elton's stab at romantic comedy, and it's a strong feature debut, spiffy, quick-witted and more than a little shocking in its unflinching acknowledgement of English people having sex.

Who wants to pay to see a movie so bad the actors and writer-director feel the need to keep reminding us of how bad it is?

Given how uninvolving Summer Catch is, the truly remarkable pitching here was not so much on the mound as in the executive office where someone convinced Warner Bros. to green-light this turkey, which should have been called Good Will Hitting.

Nearly every attempt at humor in this witless, completely reprehensible "movie" is mean-spirited and stupidly conceived at the expense of some group that deserves better.

A thoroughly likable, if familiar, Woody Allen comedy -- not the most original or revealing tintype in the director's gallery, perhaps, but blessedly free of the self-conscious hand-wringing and tortured navel-gazing that impede the former Mr. Konigsberg's more sluggish efforts.

The film feels like what it is: an improvised comedy bit that two friends came up with.

Paul Cox's admirers are sure to embrace this latest eruption of sincerity and sensitivity.

It feels like a pilot episode for the most expensive made-for-cable cartoon ever produced, and if you expect quantity (or closure) for your $8 ticket, you may feel shorted. The quality, however, is unlikely to be disputed.

Headey, Skarsgård and Rampling flesh these people out marvelously, bringing them fully to life. It's almost a pity: The more real they become, the less pleasant is the time we spend with them.

The moviemakers have eliminated the finer points of the novel in favor of broad strokes. Very broad strokes.

So desperate are the filmmakers to create a "hip" western that they try to cram it with action sequences that aren't very exciting.

There's nothing more enervating than a stupid film with only random, and perhaps accidental, flashes of smarts; the rare prescient moments only serve to highlight how banal and vacant the rest of the movie is, especially when it stoops to conquer the gross-out market bled dry by the Farrelly Brothers and their myriad acolytes.

The performance itself (which aired on PBS and is available on DVD) apparently went perfectly; given the potential pitfalls that Miller documents, it's some kind of miracle.

The redeeming features of All Over the Guy are the consistently engaging performances and some genuinely funny dialogue.

Somewhere between setup and punch line, American Pie 2 starts feeling less like a sequel and more like the second episode of a TV series, a case of fine-tuning after the pilot's been picked up by the network.

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.

Distinguishes itself by its subtlety and good taste. Even if we catch a hint of gypsy music on the soundtrack -- or glimpse a disturbing American neighbor lady -- Gardos steadfastly guards us from caricature. She wants to keep it real.

Horror fans and those who just plain enjoy a well-told story should thank the cinematic gods. Session 9 is not only the scariest movie of the year, but also perhaps the most easy to believe since the first "Blair Witch."

If you like being scared, you should have fun. Bring a date to hold hands with.

An exciting, sharply realized melodramatic film noir, based on Elizabeth Sanxay Holding's novel "The Blank Wall."

A warning is virtually mandated: No one who's even the least bit squeamish should even think about seeing Audition. But, if you have a taste for the disturbing, it's a trip that will stay with you for some time.

"Center of the World" portrays a much more believable example of what happens when a computer nerd realizes that his erotic fantasies aren't the same thing as love.

Anyone who expects a little drama with their screen sex will have to go elsewhere.

Gentle and gorgeous, honoring atmosphere over attitude.