Lucas' films are like Cher's face. No matter how many times you rework the same material, it's never going to be new and fresh again. And so it is with his latest, Star Wars: The Clone Wars.

After years of diminishing returns, Woody Allen spectacularly returns to form with Vicky Cristina Barcelona, his funniest movie in years and arguably his sexiest.

Chabrol, who is often called the French Hitchcock because of his intricate thrillers, is approaching the big 8-0, yet he continues to do quality work, as shown by A Girl Cut in Two.

A high point shows O'Day, in a black-and-white hat and form-fitting dress, singing "Sweet Georgia Brown" at the Newport Jazz Festival. That scene alone confirms O'Day's place among the greats.

Sappy and corny, but there are a few lovely moments.

The animation IS great and absolutely so fantastic you'll want to reach out and touch the creatures - or swat them off your uncomfortable 3-D glasses.

Matthews is supposed to be the star here, but it's Englund's hilarious, over-the-top performance that keeps Jack Brooks: Monster Slayer, by director Jon Knautz, from becoming another forgettable exercise in horror.

Basically a mega-budget war movie that makes fun of mega-budget war movies.

A windbaggy film of Phillip Roth's novella "The Dying Animal."

Names of the other artists - such as Barry McGee, Ed Templeton, Margaret Kilgallen and Jo Jackson - won't necessarily ring a bell, but they all have interesting stories to tell in this pleasant film, which sings the praises of nonconformity.

If you enjoy foulmouth dialogue mixed with sex, violence, bikes, badass bikers, boobs, babes, booze, brawling, broken noses and broken promises - then the Quentin Tarantino-produced Hell Ride should make you one happy guy.

Cox brilliantly underplays Avery, Sizemore is perfect as the arrogant dad, and the three boys (Noel Fisher, Kyle Gallner and Shiloh Fernandez) are right on pitch. Red the dog's pretty wonderful, too.

An unsatisfying biopic.

Good-natured, lightweight fun, although clichéd and more suited to DVD and cable than the big screen.

Frequently hilarious, occasionally sweet and often graphically violent, Pineapple Express may not be the greatest stoner movie ever made, but it will do perfectly well until we get another hit of Harold and Kumar.

Beautifully shot by Michael J. Ozier, the dominating taste in Bottle Shock is Rickman's beautiful performance as a snob - a snob who is secretly open to being delightfully surprised.

This isn't a performance film, and it is far from a definitive portrait of the androgynous performer.

Demonstrates that not only is sisterhood powerful, it can be awfully entertaining.

When I go to a Mummy movie, I don't want ninjas and yetis and men turned to stone. I want embalmed corpses and hieroglyphics. I want pharaoh. I want pyramids and sphinxes and Ace bandages. Did "Crouching Tiger, Hidden Dragon" take place on the Nile?

Brain-dead political satire/tear-jerker.

On the plus side is a good cast, including Eddie Marsan and Helena Bonham Carter as Bernie's hapless parents and Stephen Rea as a sympathetic doctor.

Takes a bit of "Swingers" and a bit of "Manhattan" to create a slacktacular vision of uncertain youth in today's L.A.

Gerren's story is fascinating, but Roberts dilutes it by going off on tangents about unsafe cosmetics and phony plastic surgeons. Both topics need exploring - just not here. There's more than enough drama in Gerren's life.

There is no shortage of indie movies about economically challenged women. This one is different, in that the women actually do something besides just talk about it.

Atmospheric and moves briskly, but it's basically TV writ large.

There is too much funny here for a movie (even though it continues into the closing credits). Step Brothers should be a TV show.

The poster art for Nanette Burstein's American Teen, which follows five students through their senior year at a high school in Indiana, is modeled after the one for "The Breakfast Club." So, to a large extent, is this ultra-slick and predictable documentary.

The actors are engaging enough that you only occasionally remember that there really isn't much going on. Then, unfortunately for the audience, something does actually happen.