Far more interesting and intelligent than anything coming out of the studios. It fairly brims with superb performances by a terrific cast - you simply can't take your eyes off the female leads, Edie Falco and Angela Bassett.

The film - dimly lit and with an ominous soundtrack that verges on overkill - is largely a showcase for the heavy-lidded Renner.

Kicks off with an inauspicious premise, mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper.

A heart-pounding experience that makes you think and contains a gallery of characters that will haunt your nightmares for years to come.

Drawing inspiration from anime and vintage Looney Toons, this beautifully drafted, offbeat charmer is hip, funny - and a bona fide heart tugger for the whole family.

A misleadingly bland title for a gripping documentary.

The character of ZigZag is not sufficiently developed to support a film constructed around him.

Gets pinned down in a barrage of schmaltz, cliché, stereotype and racial condescension - not to mention a historically dubious premise.

Infused with the hazy golden glow of nostalgia and unfolds at a leisurely pace, reminiscent of "The Virgin Suicides."

Alan Taylor ("Palookaville"), an American, directs with a playful touch, and Denmark's Hjejle is far more assured acting in English here than she was in "High Fidelity."

A lean, deftly shot, well-acted, weirdly retro thriller that recalls a raft of '60s and '70s European-set spy pictures. There are even moments when you hope it could turn into a modern "Charade."

See it only for Paul Bettany's performance.

This excruciating adaptation of the innocuous '70s cartoon show makes the film version of "Josie and the Pussycats" look sophisticated by comparison.

While the performances are often engaging, this loose collection of largely improvised numbers would probably have worked better as a one-hour TV documentary.

Contains all the clichés of the post-prison genre -- but it has some redeeming qualities.

There is much more suspense in this sequence than a similar scene in last week's "The Sum of All Fears" -- which wasn't intended to be funny.

Behind the glitz, Hollywood is sordid and disgusting. Quelle surprise!

Endearingly offbeat romantic comedy with a great meet-cute gimmick.

Khouri seems never to have met a "chick flick" cliché she didn't like, from the ubiquity of emotional telephone conversations to the lachrymose (but entirely predictable and dramatically flabby) reconciliation at the end.

A rare film that depicts a skinny male in a relationship with a plus-size woman. And, small wonder, Brittain's sweet charisma makes her the most lovable big woman on screen since Lynn Redgrave in "Georgy Girl."

It is an important, thoroughly bewitching work of art.

It's a worthy idea, but the uninspired scripts, acting and direction never rise above the level of an after-school TV special.

You just know something terrible is going to happen. But when it does, you're entirely unprepared

A moribund attempt to exhume the Jack Ryan techno-thriller franchise with a severely miscast Ben Affleck, is truly the 20-megaton bomb among this summer's blockbusters.

Boisterously amusing.

A gentle comedy, brimming with hope and faith in human resilience.

Too-convenient coincidences hurt the movie's credibility. A melodramatic script best left to cable TV doesn't help, either.

Coppola sure knows his late-'60s cinema and he's meticulous in reconstructing the style of the era.