When it comes to magnetism, the Rolling Stones have nothing on Amma, the Indian mahatma ("spiritual guide") chronicled in Jan Kounen's handsomely photographed but one-sided documentary.

The film is generic and uninspired, better suited to public TV than the big screen.

A couple of years ago, a disaster like Shadow boxer - with the hapless Cuba Gooding Jr. scraping below the bottom of the barrel - would have gone straight to video or been buried on an obscure cable channel at 3 a.m.

Kevin Smith's Clerks II doesn't take much notice of anything that's happened since the 1994 original. It's occasionally clever and gets a few points for originality.

A charmless, unscary, fatuous and largely incoherent fairy tale.

The house itself - which walks down the street in one impressive scene - is memorably voiced by Kathleen Turner.

Uma Thurman plays a flying hero who might as well be called Not Funny Woman.

The story is superficial at best. And the movie is too long.

There's a lot happening here, perhaps too much. At times, the movie threatens to implode under its own weight. At others, it's wickedly funny.

Sexual and toilet humor plumb new depths in Keenen Ivory Wayans' Little Man, which will stink up theaters like several gross of dirty diapers.

Uncompromisingly mediocre comedy.

It's always enjoyable watching Depardieu and Deneuve, but they deserve better material than they've been given by Techine.

Comes about five films after writer-director-star Ed Burns should have found another career.

Aa saucy as a belly piercing, Mini's First Time is a black comedy that puts the soul of "Heathers" in Lolita's bikini.

Despite this seemingly surefire premise and cast of veteran comedians - there's even a cameo by Liza Minnelli as a masturbation coach - The OH in Ohio just lies there, without a single laugh.

Time to Leave just might be Ozon's best work yet. He tackles a sensitive, off-putting subject with a dignity that will put viewers at ease. Poupaud connects as the dying man and Moreau is - Moreau, a French national treasure.

It may be too bleak for most.

A chilly, pretentious and talky drama.

This chest is overfilled with exposition and physical comedy, without a doubloon's worth of the scary suspense that made the laughs in the first one such brilliant comic relief.

Doesn't quite live up to the promise of its opening sequence, but it's still an audacious offering during a season of brain-dead blockbusters.

Beowulf & Grendel has its moments, as well as its debits. Among the later is the grating Canadian accent of Sarah Polley, who plays a witch named Selma.

The movie itself is a powerful cocktail of not just sex and love but race, poverty, colonialism and jealousy.

As Lydia Lunch of Teenage Jesus & the Jerks puts it, "They seem so desperate to be liked, desperate to have their music used in the next car commercial."

Once in a Lifetime, which is being released at the peak of World Cup fever, is the sort of sports documentary that will appeal even to nonfans. It's a quintessential only-in-New York story.

If you can tell the difference between a mule and a pump, attendance at The Devil Wears Prada is mandatory. You might have to reach back to "Funny Face" to find a fashion movie so on-trend.

Despite some remarkable unembedded footage, Andrew Berends' is yet another disappointingly superficial, unfocused and one-sided documentary on the conflict in Iraq.

Bryan Singer's super, soulful and very expensive new resurrection of the venerable big-screen franchise, ups the ante with must-see results.

Michael Kang makes an impressive feature directorial debut with The Motel. But the person to keep an eye on is Jeffrey Chyau, a student at the Bronx High School of Science, who is a delight in the lead role.