The film is a loopy, family-friendly jaunt, with a perfect "Wizard of Oz" finale that isn't in the book, but like the book, it suffers from a chronic plot malfunction.

A big, loud, proudly brainless popcorn flick that blows up cars, trucks, tanks, boats, helicopters and even a train.

Kim's wittiest effort to date, with a wordless performance by Jae Hee that recalls Keaton and Chaplin.

Well-intended and often poignant film that, unfortunately, too often bogs down in too much talk by its participants.

A series of beautifully bleak black-and-white images of the sexy actress Islid Le Besco staring gravely out of windows.

A mockumentary that veers unsteadily between satire and an infomercial for Dash's Roc-A-Fella records.

The dialogue is so real that it makes you wince, then laugh.

The Holy Girl ends without resolution, but one isn't needed in this mature, thoughtful drama.

Well-acted but a bit creaky.

Unless you're already into this stuff, it'll be hard to stay awake through the documentary, which was made on a low budget with technical values that are decidedly amateurish.

Director Roland Suso Richter maintains tension for 2 1/2 hours, even though the resolution is almost surreal.

The 3-D effects are among the most effective ever shot.

Make no mistake: Casuistry isn't easy to watch. Cat lovers might be especially turned off. But Asher had every right to make it, and you have every right to see it.

But at the risk of sounding ungrateful, Sydney Pollack's latest film should have been a lot better.

Say this for A Lot Like Love: It isn't one of those impossibly witty romantic comedies.

None of this is remotely funny.

It shows the hardship that women -- especially older women -- must endure in a male-dominated business.

The story is fascinating, infuriating and even laugh-out-loud funny at times.

By the time this corn festival is over, you'll be crying out for the relative toughness of the average Jimmy Stewart film.

An unassuming love comedy with plot problems.

Strictly generic, it does little more than regurgitate the J-horror hits "Ringu" and "Ju-on."

So bland that it fails to make an impression.

A goofy, low-budget, predictable and totally entertaining Z-grade splatter-comedy, which deserves a long life (or, should we say, undeath) on the college midnight-movie circuit.

Director-writer Jang Jun-hwan starts things off with a bang and never looks back, pushing up the excitement periodically.

Shoddily made, boring and, most shockingly, without a single decent scare.

That someone as smart as Duchovny would get bogged down in such predictable treacle is a mystery worthy of investigation by Scully and Mulder.

"Trainspotting" redux.

There are no end of tear-jerking moments in Perlasca, a well-made and heart-rending Italian "Schindler's List."

Slyly funny.

Not one of Hartley's most successful efforts, but it's witty, daring, different and a welcome alternative to Hollywood pap.

Solondz beats on abortion defenders, stomps on the pro-life crowd and finishes up by telling us there is no free will. If you want some easy laughs tonight you'd be better off curling up with some Kierkegaard.

You may call the film blingsploitation but its fun-loving hoodlums know who's fooling whom.

The feature debut by hot, young Singapore director Royston Tan, 15, is a descent into hell -- a hell inhabited by five scuzzy 15-year-old boys whose world, as one puts it, "only consists of darkness."

Then everything went wrong, thanks to Middle East politics -- as the moving documentary Raging Dove shows.

If the filmmakers had spent $14.98 of that $100 mil on a DVD of "The Mummy," they might have learned a few things: You need a head villain who is surpassingly evil, you need some jokes that get laughs - and a few sword-fighting skeletons wouldn't hurt.

Rarely have filmmakers had a more wildly improbable happy ending forced on them. Well, you need all the help you can get, divine or otherwise, when your two stars - Drew Barrymore and Jimmy Fallon - have no chemistry whatsoever.

Gut-Bustingly funny moves are pretty rare, so hustle over to Kung Fu Hustle, actor-director Ste phen Chow's exhilaratingly hilarious and affectionate send-up of Hong Kong action flicks.

May be predictable and silly, but it's never dull.

A flaccidly pretentious and snooze-inducing trilogy of allegedly racy tales.

A well-built machine that dunks you into a big warm vat of sadness. There's no plot: It's a situation drama. Instead of punch lines, it delivers regular shots of heartbreak.

A Hole in My Heart will disgust many (probably most) viewers as it cements Moodysson's reputation as one of today's most daring filmmakers.

You need a scorecard to keep track of who's bedding whom in Happily Ever After, a tres French take on sex and love, in that order.

Akhavan plays each change brilliantly in a film that is so tightly controlled that the mere glimpse of a new beard or a prayer mat being unrolled becomes a moment of horror.

A moving documentary about poetry inspired by combat.

Looking at the art and listening to the music is wonderful just on its own, but hanging out with Hockney is also a treat. He's a delightful companion.

Infuriating, but not for the reason filmmakers want it to be.

Wonderfully quirky love story.

This is noir on steroids, cartoonishly ultra-violent and drawing inspiration from Mickey Spillane novels and E.C. comics of the '50s.

Everyone seems to think that this crotch-rocket rumble is the equivalent of invading Normandy. "We're a band of brothers," says one racer. No, you're a band of boys, competing to see who has the longest camshaft.

Dom DeLuise, as a fruitcake director, and John Waters fave Mink Stole, as Robin's Jewish mother, spice things up, but not enough to make Girl Play worthwhile.

Kontroll calls itself a thriller, and you will agree if you are excited by scenes of bored inspectors arguing with sullen straphangers.

Look at Me is on the talky side, but like Jaoui's directing debut, "The Taste of Others," it offers uniformly excellent performances and smart observations on social and family interactions.

A cut above what you'd expect from the spinoff of a sequel.

Sometimes beautiful to look at but ultimately too poetic for its own good.

It's the audience that gets punk'd in this crass and sloppy comic recycling.

If one enjoyed manufacturing symbols as much as Miller, one might speculate that Rose is Rebecca Miller, aching to be her own artist, and Jack is Arthur.

The gags run thin after half an hour or so.

Offers plenty of fun, nostalgic footage of 1950s pro lady wrestlers kicking butt.

Gabizon has a great idea. But he ruins it by devoting too much time to colorful but unnecessary characters.

Park's direction is flawless and Jung Jung-hoon's cinematography is stunning.

Screenwriter Marc Lawrence, who worked on the original, throws in unbelievable plot twists merely as excuses for comic mayhem.

It's ultimately a shallow effort.

An intoxicating attack on the homogenization of wines around the world - a "Fahrenheit 9/11" for the oneophile set.

This movie wasn't just made for 11-year-old girls; it seems to have been made by 11-year-old girls.

Borrowing liberally from the "Exorcist" and "Omen" movies, and with little regard for credibility, The Ring Two has a familiar ring to it.

Not since Edward Norton kicked his own butt in Fight Club has the screen witnessed such a brutal self-drubbing.

Despite reams of maudlin narration, McKidd's powerful performance as a conflicted man makes this beautifully shot low-budget feature worth checking out.

A stunning drama from that remote former Soviet republic.

Gorgeously detailed animated adventure.

You can't fault the film's elegant look. But you have to wonder why Shakhnazarov, one of Russian's most experienced filmmakers, didn't take more care with the script.

Some fine performances shine through in Joe Maggio's pretentious, credulity-straining dramedy.

An impressive experimental movie, is practically a one-man show by Yasuaki Nakajima.

An unrelenting assault on the brain and eardrums.

24-karat stuff, even if it has a soul of tin. With the voices of Ewan McGregor, Robin Williams and Mel Brooks, Robots is a giddy erector-set update of "Toy Story" with a splash of "The Wizard of Oz."

Binder has allowed Allen, a brilliant actress, to go overboard with Terry's obnoxiousness, just as Brooks (his apparent role model) did with Téa Leoni in "Spanglish."

Give Boyce and Boyle credit for daring to be strange, but this enchilada is so overstuffed, it's falling apart.

Sobering and important.

A remarkably smart and weird film, even if it's sad and sometimes difficult to watch, with jokes designed to make you cringe.

Isn't a total loss, but neither does it have the charm of "The Full Monty" or other feel-good indie Brit flicks it emulates.

The script is morose and unfocused - not to mention hard to believe and insulting to women.

The less you know going in, the more you'll enjoy it. Suffice it to say that it's a hugely entertaining thriller disguised as a chick flick.

The dreadful acting, direction and script make Nowhere Man a nowhere movie.

A beautifully acted if fairly poky coming-of-age story.

An admirably realistic portrait of police life.

A fairly painless, if not particularly stimulating, experience, Gray has no idea how to capitalize on the reunion of "Pulp Fiction" co-stars Travolta and Thurman.

The characters are so flat and the dialogue so dull you expect it to be one of those movies whose existence is justified by a big final twist. But it's three days after the screening, and still no twist. Maybe it's coming in the mail?

If the once red-hot Vin Diesel's overhyped career wasn't finished off by last summer's mega flop "The Chronicles of Riddick," the alleged family comedy The Pacifier ought to do the trick.

The film is soft and sticky, but it deserves a (small) audience. If you're in that peculiar kind of blue mood where you'd like to be just a bit bluer, Dear Frankie might be the right choice.

Engaging, if sometimes obvious.

At its best, the film just sits back and lets the weird times roll.

Has no profound statements to make, but it does provide warm and fuzzy comfort.

Fox can't decide if Walk on Water is a terrorist thriller or a gay buddy story, and neither can the viewer.

All the pieces converge in a powerful rush during the second half.

There's a story here, but the film doesn't tell it.

Chilling documentary.

Unlike Cursed, which resorts to blatant but unconvincing gore and violence, "The Wolf Man" (1941) gets its point across through suggestion, makeup and spooky sets.

Plays like an unwieldy mishmash of "Big Momma's House," "An Unmarried Woman" and "The Burning Bed," with lots of gospel music thrown in.

Mindless, vapid fare... Watching the movie, you'll feel really dirty.