It's not exactly going to be on PETA's 10-best list.

We keep waiting for one of those outlandish musical treats to bring some life to the clichéd script. Kunder throws in a few breaks, but they're tepid and brief.

Five people did escape, and they contribute their stories to the spellbinding documentary.

Anybody who's ever seen a movie about exorcism knows that, in cases like this, the first thing to do is call 1-800-PRIEST, which the family does.

Since they seem like real people we want them to work out their differences. In the second half, their story is nearly lost in favor of lots of documentary footage of the actual protests. This stuff was pretty ho-hum to look at two years ago, and it hasn't gotten more interesting with age.

This year's actress to watch is Elizabeth Reaser, who delivers a tour de force as a determined German mail-order bride who comes to 1920 Minnesota in Ali Selim's captivating indie Sweet Land.

Utter junk.

Halfway through, the jokes stop - the laughs never began - and give way to a tiresome thriller.

The movie's prideful silliness makes it semi-watchable in the manner of Saturday afternoon cable flicks like "Delta Force."

This superb documentary about the Catholic Church's worst pedophile scandal is in many ways far scarier than any fiction.

The mild British wackiness is more droll than funny, but the movie is a pleasant cup of tea.

Dizzy with celebrity, New York society and gay life (if all that isn't the same thing), Infamous is more fun. But "Capote" is a better movie.

It's trashy and disgusting - and those are the best parts. Mostly it's just an endless, pointless drone with characters like bacteria and dialogue like an untuned radio.

There's plenty of material here for a dark comedy, but director Martin Curland isn't up to the job. His film - like Luke - plods along, unsure of exactly what it's supposed to be.

This lame teenage James Bond will leave audiences neither shaken nor stirred.

The cinematography and sets look great, but the script is a bummer. It's overlong, overwrought and overblown.

Never becomes maudlin. Rather, it retains an upbeat air of hope, and even humor, as two brave men battle fate.

The result is mystifying - intentionally so - and frustrating. But it's worth a look.

The profanity-laced but witty and literate dialogue by William Monahan ("Kingdom of Heaven") is delivered by a brilliantly chosen cast, almost all of whom are operating at the very top of their game.

For short stretches, the movie has a touch of surreal "Office Space" brilliance, but it's broadly acted, its characters are thin, and the production values are ragged. Still, it's hard to resist its goofy hostility: "You're like the drummer from REO Speedwagon. Nobody knows who you are."

Misses everything that made the first one eat into your spine like meningitis.

Dropping by on the same people every seven years like an old friend - or an unwelcome relative - Apted has constructed a peerless, suspenseful work that develops character to a depth that would make Tolstoy jealous. If you have any interest in documentaries, watch the DVD of the first film, "7 Up" (49 Up hits DVD Nov. 14). You won't be able to stop.

A dry but enlightening documentary.

Lou Diamond Phillips is let down by an uninspired supporting cast, including Bruce Weitz as a crippled con artist and Tracy Middendorf as the requisite femme fatale, a clichéd script, and flat direction by Stephen Purvis.

Vanity productions don't come much worse than One Third, an amateurish, dialogue-free curiosity courtesy of Yongman Kim, the founder of the Greenwich Village institution Kim's Video.

You gotta give credit to any first-time direc tor who attempts an homage to classic screwball comedies on a shoestring budget, even if Kettle of Fish ends up not exactly being the catch of the week.

Mitchell's adventurous, big- hearted, pansexual mosaic of New Yorkers looking for love and orgasms (not necessarily in that order), is a rare example of a nonporn film that doesn't exploit graphic sex as a gimmick.

Mock didn't find room for any of the many critics who accuse Kushner of being an anti-Zionist - and the film unfortunately ends in 2004, just before its subject began working on his controversial script for Steven Spielberg's "Munich."