Beautiful Brit actress Sophia Myles ("From Hell") is so arch, canny and amusing as the posh, pink-obsessed spy Lady Penelope, it's as if she is acting in the movie this should have been.

Pours on creepy atmosphere, but this dud is too intent on delivering its liberal "message" to actually deliver the kinds of scares it promises in the terrific trailer.

As this Woodstock-on-wheels careens through the countryside, stopping only to play for thousands of hirsute revelers -- and, once, to stock up on booze in Saskatoon -- its famous passengers celebrate with delirious joy the pure, unadulterated magic of music.

The film is less violent and bloody than much of the director's work, but the absurdity level is sky high. Takashi Miike is at the top of his game, loving every minute of his surreal visit to the twilight zone.

The most gut-bustingly funny movie so far this year.

No "Girl on the Bridge," but this comic thriller does generate a fair amount of erotic tension and sly commentary on psychoanalysis.

This Canadian-South African labor of love has its heart in the right place, even if the leads seem to have been cast more for their hunky looks than their stiff acting.

There’s little dialogue in this gem of a movie, but little is needed. Aman’s anguished face – which recalls Maria Falconetti in “The Passion of Joan of Arc” -- conveys all the information we need.

A fanciful little indie brimming with emo music and curious little vignettes, marks a self-conscious but very promising debut for "Scrubs" star Zach Braff.

So terrifically entertaining, it would be a shame if it didn't inspire a companion piece on New York.

A messy -- but uproarious, timely and provocative -- farce.

The film is lousy with cartoonishly off-putting characters.

The tap-dance finale is a gem.

The strapping Damon's lived-in performance makes us happy to follow Bourne wherever he may go.

Catwoman is pretty well summed up by Hedare: “This is a disaster. It’s a total bloody disaster.”

Well-meaning yawn-fest.

Brims with energy, carefully drawn characters and fine acting.

It's a far more effective leftist argument than the bombastic "Fahrenheit 9/11."

The story is told in fractured time. This might not be a problem if his visuals were more fear-inducing.

A cheaply made, occasionally repetitive, but passionately argued documentary.

Not as vile as "Sleepover," nor as tangy as "Mean Girls."

Hollywood's umpteenth tale of robots run amok is surprisingly smart, cool-looking, nicely paced and well-acted.

None of this is remotely funny or interesting.

A solid documentary that examines the art's roots, from ad-libs by black preachers to "toasts" delivered by Jamaican immigrants over instrumental tracks in the '70s South Bronx.

More than a ripped-from-the- headlines drug drama, Maria Full of Grace is like a horror movie made real.

A clever and big- hearted gay screwball comedy.

Breathtakingly filmed (lots of slow-motion) by Wang Yu, but then it would be difficult to go wrong when your star is one of the world's most beautiful women.

Rogers gives a brave performance, but there isn't much chemistry between Bridges and Basinger, who were teamed to better effect in 1987's "Nadine."