Park's direction is flawless and Jung Jung-hoon's cinematography is stunning.

Screenwriter Marc Lawrence, who worked on the original, throws in unbelievable plot twists merely as excuses for comic mayhem.

It's ultimately a shallow effort.

An intoxicating attack on the homogenization of wines around the world - a "Fahrenheit 9/11" for the oneophile set.

This movie wasn't just made for 11-year-old girls; it seems to have been made by 11-year-old girls.

Borrowing liberally from the "Exorcist" and "Omen" movies, and with little regard for credibility, The Ring Two has a familiar ring to it.

Not since Edward Norton kicked his own butt in Fight Club has the screen witnessed such a brutal self-drubbing.

Despite reams of maudlin narration, McKidd's powerful performance as a conflicted man makes this beautifully shot low-budget feature worth checking out.

A stunning drama from that remote former Soviet republic.

Gorgeously detailed animated adventure.

You can't fault the film's elegant look. But you have to wonder why Shakhnazarov, one of Russian's most experienced filmmakers, didn't take more care with the script.

Some fine performances shine through in Joe Maggio's pretentious, credulity-straining dramedy.

An impressive experimental movie, is practically a one-man show by Yasuaki Nakajima.

An unrelenting assault on the brain and eardrums.

24-karat stuff, even if it has a soul of tin. With the voices of Ewan McGregor, Robin Williams and Mel Brooks, Robots is a giddy erector-set update of "Toy Story" with a splash of "The Wizard of Oz."

Binder has allowed Allen, a brilliant actress, to go overboard with Terry's obnoxiousness, just as Brooks (his apparent role model) did with Téa Leoni in "Spanglish."

Give Boyce and Boyle credit for daring to be strange, but this enchilada is so overstuffed, it's falling apart.

Sobering and important.

A remarkably smart and weird film, even if it's sad and sometimes difficult to watch, with jokes designed to make you cringe.

Isn't a total loss, but neither does it have the charm of "The Full Monty" or other feel-good indie Brit flicks it emulates.

The script is morose and unfocused - not to mention hard to believe and insulting to women.

The less you know going in, the more you'll enjoy it. Suffice it to say that it's a hugely entertaining thriller disguised as a chick flick.

The dreadful acting, direction and script make Nowhere Man a nowhere movie.

A beautifully acted if fairly poky coming-of-age story.

An admirably realistic portrait of police life.

A fairly painless, if not particularly stimulating, experience, Gray has no idea how to capitalize on the reunion of "Pulp Fiction" co-stars Travolta and Thurman.

The characters are so flat and the dialogue so dull you expect it to be one of those movies whose existence is justified by a big final twist. But it's three days after the screening, and still no twist. Maybe it's coming in the mail?

If the once red-hot Vin Diesel's overhyped career wasn't finished off by last summer's mega flop "The Chronicles of Riddick," the alleged family comedy The Pacifier ought to do the trick.