Sweetly appealing fable.

This distaff "Hoop Dreams" is less of an epic than the earlier movie, and less deep, but it's got more sunshine, too.

Sex can be fun and exciting and wonderful. It also can be deadly boring, as in Psychopathia Sexu alis.

Mildly diverting, but lacks humor and pathos.

Director John Moore has added some creepy visuals and assembled an unusually strong cast for a horror flick.

There are precious few laughs in this poorly written and directed "unromantic comedy" - the sort of dire date movie you'd take somebody to if you wanted it to be a LAST date.

A fascinating history of how blowing yourself up became a popular hobby in the Muslim world.

District B13 looks great, but don't let those subtitles fool you. At heart, it's every bit as proudly dumb as its American counterparts.

Tries to be "The Karate Kid" of gymnastics. It looks more like "The Karate Kid" as imagined by Details magazine.

We get to know three of these courageous, funny, smart and perhaps permanently damaged men in a film that largely avoids telling us what to think and makes an effort to get near the truth of the soldiers' experience.

Combines a wise script with funky performances, especially by Aselton, who could give Jennifer Aniston a run for her money.

Mainstream moviegoers will be put off by the subtitles, and art-house fans will be insulted by the story's shallowness.

Shot in black-and-white, La Tropical serves as an atmospheric portrait of Cuba in the twilight of Castro's rule.

Nunez gets nice performances from his cast, but his narrative is cluttered.

Mostly about extending a Hollywood franchise with ever-diminishing returns.

As a narrative, Shem, directed by Caroline Roboh, is a pointless hodgepodge, with a finale that will leave viewers scratching their heads.

There is more style here than story, but the style - slashing cuts delivered in queasy orange sunstroke tones, accompanied by the urgent bleat of the cellphone - is considerable.

The hero is the Texas prosecutor who won a questionable indictment of DeLay, Ronnie Earle. But he sounds more extreme the more he talks.

Avoiding the usual vein-popping diatribes, he comes across as learned, calm and folksy. But much of what Gore says in this slide show he gives to people whose minds are not yet fully formed (undergraduates, actors) is absurd, and his assertions often contradict each other.

Vincent Lindon, one of France's leading actors, is super as Marc, a man on a downward spiral into insanity. And Emmanuelle Devos is comforting as Marc's loving wife.

A sloppy and only mildly engaging documentary.

Ron Howard's splendid The Da Vinci Code is the Holy Grail of summer blockbusters: a crackling, fast-moving thriller that's every bit as brainy and irresistible as Dan Brown's controversial bestseller.

If they were still making Looney Tunes, they'd look a lot like Over the Hedge.

It's hard to believe that the distributors of See No Evil were so afraid of what critics would say about their movie that they refused to provide advance screenings. The movie's target viewers aren't the type who read reviews, if they read at all.

There is no tragedy without character, yet the way The King drapes heavy situations around its feebly imagined personalities suggests a tire thrown around the neck of a poodle.

Rampling has a relatively small role in Lemming, but the 60-year-old star proves the high point of the suspenseful black comedy from France.

Filmmaker Alison Murray drew on her own experiences, but Mouth to Mouth would have benefited from more focus and fewer dance sequences.

The film 12 and Holding brings you back to when you routinely said things like, "I'm going to kill you" or "We're soul mates" and meant it.