Except for the rock soundtrack, these movies could be silent - and probably should be.

The kind of thriller whose ridiculous climax hinges on a hitherto undisclosed GPS tracking device in a dog's collar - an appropriate touch in a movie that's more than a little flea-ridden itself.

Occasionally works and has a handful of great moments.

Syd is a jerk whose anger does not make him interesting. The only reason to keep watching is because you hope someone will drop a piano on his head.

A schmaltzy filmed record of a Nashville concert given by the legendary former rocker, who has morphed into the new Kenny Rogers.

Fails to show indignation that rich white guys are trying to get even richer at the expense of a naive black kid from the ghetto.

The unusually explicit dungeon scenes with Pablo, a leather daddy and a fellow slave may whip a rather specialized audience into a frenzy. But for others, A Year Without Love will be a less pleasurably painful experience.

Johansson never looked more beautiful, nor gave a lamer performance, than in A Good Woman.

Ineptly directed by Simon West, the scare-free When a Stranger Calls is the worst of the seminal horror movies from the late '70s and early '80s that have been getting the remake treatment lately.

Irresistibly warm and surprisingly realistic.

The dialogue, at best serviceable, becomes completely superfluous.

Ohayon doesn't judge Thompson or his customers, but you don't need to be a Harvard-educated psychiatrist to realize that the bunch of them are dirty old men who treat women as commodities.

Harry likes Willie's white girlfriend, played by the Australian actress Rose Byrne with a riveting, sad sexiness. So much screen time is devoted to the men that her part is underwritten, but there are novels in her eyes.

Kirschner's excruciatingly earnest coming-of-age comedy, is about as fresh as year-old matzoh and plays like the unholy spawn of "Brighton Beach Memoirs" and "Fiddler on the Roof."

But exciting as La Scorta might be, it is at heart a conventional thriller that breaks no new genre ground.

Paints an entertaining picture of the cherubic gentleman, who as the first curator of contemporary art at the Metropolitan Museum of Art brought new excitement to the stodgy institution.

One of the more interesting low-budget experiments Steven Soderbergh has indulged in between flashy Hollywood entertainments.

Sir, no, sir.

If you experience any laughter while in the presence of this movie, it's a credit to your imagination. But if you can tickle yourself, why spend the $10.75?

I enjoy a cozy homage to Dickens - it beats another ripoff of "The Matrix" - but though the movie has a gentle spirit, neither the actors, whose performances are broad caricatures, nor Thompson bring any wit to it.

Offers a few laughs - and little sexual heat.

Albou's chosen a touchy subject, which she treats sensitively. Her mature script is complemented by heartfelt turns by Fanny Valette as Laura and Elsa Zylberstein as Mathilde.

Another ridiculous anti-American screed by the minimalist Danish director Lars von Trier, who has never set foot in this country.

A splendidly photographed IMAX 2-D film, takes us breathlessly through the process of designing Spirit and Opportunity, the two plucky Mars rovers that have been sending images 300 million miles since they hit the Red Planet in 2003.

This movie is a proudly esoteric piece of comedy jazz: Freewheeling and low-key at the same time, it'll thrill audiences that know the meaning of the word esoteric but bore others. For a small cult, it seems likely to get funnier the more times you see it.

Go for Zucker was a smash back home, where it was hailed as the first German comedy about Jews since World War II. But it will take more than that to make American audiences laugh.

It's a sly, low-key comedy in which he casts himself as a neurotic, self-absorbed curmudgeon.

This rehash of familiar pacifist arguments offers neither heat nor light. It's "Fahrenheit: Room Temperature."