The Spanish Inquisition was better summed up in an eight-minute musical number by Mel Brooks than in the entirety of Goya's Ghosts, an across-the-board disaster from one of my favorite directors, Milos Forman.

The best and most entertaining movie adaptation of a stage musical so far this century - and yes, I’m including the Oscar-winning "Chicago."

The movie isn't insulting to homosexuals but to comedy.

So what starts out as fascinating sci-fi becomes just fi, and winds up pulp fi.

Low-key yet has a lot to say about class struggle.

Captivity is torture porn without the sex. Cuthbert squirms, screams, weeps and pleads for her life with great conviction. Slick, sick sleaze.

Proves, if anything, that sappy feel-good movies aren't restricted to Hollywood.

Some bits are too stagy, but for the most part this long night feels like an interview that could have actually happened. Miller is so good - dumb, smart, wounded, wounding, a lollipop of sweet poison that you'd buy every day until it killed you - that you feel you not only understand her but all actresses.

Formulaic but entertaining, My Best Friend climaxes with a lengthy, surprisingly heartfelt sequence set on the French version of "Who Wants To Be a Millionaire."

As much as we like Alec as an actor, it's hard to imagine that any amount of editing and reshooting under his supervision could salvage his complete ineptitude as a director.

Don Cheadle has a fine time jiving through Talk to Me - accent, please, on the middle word. It's a black "Good Morning, Vietnam."

A wonder to look at, even as its increasingly pretentious manga-inspired story line outstays its welcome.

Viewers in Gotham will be perplexed, frightened, disgusted - and, mostly, entertained.

You want to hate his characters? Go ahead. You want to feel sympathy for them? That's OK too. In either case, you'll be shaken by Drama/Mex.

There are lots of special effects, but sadly, no real magic.

Isn't perfect, but it's light years ahead of "Ong-Bak."

Joshua falls a bit flat at the end, but overall it delivers some genuine old-school chills - something that was missing when Macaulay Culkin played a similar role in "The Good Son."

No matter how good Blethyn is at playing up the sweet hurt of a woman who is well on the decline but never made it in the first place, your admiration for her shrieking-and-drinking breakdown scenes is likely to be tested after about the fifth go-round.

What a sweet collision is Rescue Dawn: the American psycho meets the German kook.

Deafeningly loud and proudly silly epic.

Watching Robin Williams as a pastor giving premarital counseling to lovebirds John Krasinski and Mandy Moore in License to Wed is like having a laugh chastity belt cinched up tight around your funny bone.

The silliness of Moore's oeuvre is so self-evident that being able to spot it is not liberal or conservative, either; it's a basic intelligence test, like the ability to match square peg with square hole. His documentaries are political slapstick that could have been made by a third Farrelly brother or a fourth Stooge.

If there is a genius working in Hollywood today, it's animation director Brad Bird, who tops the delightful "The Incredibles" with arguably the finest 'toon in the Pixar canon, Ratatouille.

Vanessa Redgrave spends Evening dying, and so does Evening.

Only the French could or would make a movie like this. You'll enjoy it if you turn off your brain and concentrate on the eye candy.

A sappy look at the title character, a 12-year-old boy who's a math and music prodigy.

Albert elicits good performances from her cast, but she fails to give viewers reason to care about their characters.

Willis, who at 52 looks great in an intensely physical role and can still spit out wisecracks and insults with the best of them.