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."

Bart Everly followed Frank around for two years, yet his film seems to consist mostly of regurgitated C-Span and news footage from the period, interspersed with asides from the outspoken liberal.

Makes about as much sense as most dreams. But that's to be expected, because the video feature is a series of successive dreams.

Often so silly, it's surreal.

If ever a movie could be charged with imperiling the morals of a minor, it's probably Sleepover, a sleazy, PG-rated sex comedy that's apparently aimed at 8- to 10-year-old girls.

A miracle of indie filmmaking. Shot for practically nothing by first-time director David Barker, it delivers more bang for its minimal bucks than many a Hollywood blockbuster does for its multimillions.

The Inheritance has a promising start but soon becomes preachy and melodramatic.

Metallica brought back the rights and funded the project, and it's their honesty and willingness to front the cameras, warts and all, that makes this well-edited, often very funny, documentary so compelling.

Magnificent if overlong and oddly structured surfing documentary.

Twinkles and glows, but all the surface razzle-dazzle fails to mask the emptiness at its core.

Chance encounters and fated love are the stuff of fairy tales, which is what makes the deliriously romantic sequel Before Sunset a small miracle.

An extremely well- acted thriller that simply fails to thrill.

If Schwarzberg had chosen to concentrate on eccentrics, rural artists or people like his New York bike messenger, female aerobatic champion and California cliff dancer, "Heart and Soul" would have been a much more interesting film.

Credit the disarming cast, especially Oshri Cohen as the boy and Arie Ellias as his eccentric grandfather. They help turn what could be a standard comedy into a life-affirming, enjoyable one.

Sequels don't get much better - or smarter - than the action-, drama-, romance- and comedy-packed Spider-Man 2, which miraculously improves on the webslinger's hugely popular first screen adventure in every imaginable department.

The Notebook is well worth the risk of diabetic shock for the sake of superb acting that transcends its teary milieu.

Visually stunning.

Haneke's images are so bold and riveting and the characters' emotions are so raw that the lack of a few details doesn't matter.

They resort too often to infantile flatulence jokes and fairly obvious gags about errant G-strings, with the anorexic plot culminating in the brothers having - yawn - learned to respect women's feelings.