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.

The plot of the indie feature Room is, shall we say, sketchy. But that's a minor annoyance thanks to a gutsy performance by Cyndi Williams and vibrating cinematography by P.J. Raval.

The Amy Sedaris comedy based on the failed TV show isn't the least funny film of the year - but for that it should send a thank-you note to "United 93."

Paine doesn't hide his liberal mind-set, but he lets all sides - from GM suits to Ralph Nader - have their say. By the closing credits, there's little doubt who killed the electric car.

At the Professional Bull Riders championships, a rough animal is called "rank." In this skillful documentary, you can almost hear the cracking bones as brave and/or stupid riders attempt to stay on these snorting 2,000-pound monsters for eight seconds.

Could have been a spiky culture clash. When it tries to shock us with its alleged realism, though, it is entirely a bore.

Rarely have I wanted to fast-forward through a movie as much as Click, a treacly and not-funny-enough Adam Sandler comedy.

Slow-witted and occasionally unintentionally hilarious.

Laughless, pointless and downright creepy, Say Uncle is a would-be black comedy.

It's hard to say what's worse in the strange Portuguese drama Two Drifters: the insufferable wordless stretches, or the sudsy dialogue.

Bears more than a passing resemblance in story and form to "The Twilight Samurai," but stands on its own as a pleasant, if unremarkable, romance.

The Road to Guantanamo is a missed opportunity. This is a subject that deserves a more thoughtful documentary or docudrama, not a hastily thrown together amalgam of the two.

In the future, more and more filmmakers will do exactly what The Great New Wonderful has done: conceal their lack of ideas by bringing up 9/11.

You're either going to love this film and run out to see everything Majewski has directed, or you're going to be bored silly. I'm hoping for the former.

Sparse of dialogue and plot (think Andrei Tarkovsky), the import - named best first film at Cannes 2005 - has to do with Sri Lanka's unending civil war and it's devastating effect on residents of a barren no man's land.

If you're going to make a documentary about Leonard Cohen, the singer-songwriter, you should have him perform some of his better-known melodies, like "Suzanne."

The movie teaches us that you can flip your car down a mountain 15 times and walk away from it with two Tylenol.

Kids should see Garfield: A Tale of Two Kitties. It'll help prepare them for a lifetime of mediocre entertainment ahead.

A glacially paced, extremely moist, terminally gloomy and cliché-laden romantic drama with a supernatural twist.

Hess' deadpan dorks are strange, really strange. As in the Christopher Guest movies, there is a distinct comedy architecture you recognize from the opening minutes.