Where Quentin Tarantino's "Kill Bill: Vol. 2" radiates freshness and vigor, Man on Fire feels vaguely like something left over from the 1980s, when action heroes were one-note tough guys methodically picking off baddies.

If you can overlook its TV-episode look, occasional lapses in logic and detours into lurid overkill, this old-school psychological thriller, which marries a tracking-the-serial-killer narrative with occult themes, is a creepy diversion.

Should please die-hard fans as well as viewers who have never heard the band and its anthem, "Kick Out the Jams."

A postcard-pretty psychological drama that's too moody and enigmatic for its own good.

Manages to create a creepy atmosphere, even if the plot itself is somewhat unfocused and the scares scarce.

The stylish flick harkens back to the work of old masters like Akira Kurosawa and Yasujiro Ozu.

The Agronomist uses archival footage and music to tell a moving story that's all too common in the Third World.

Beautifully shot and well-meant -- but fairly snoozy.

This So-Called Disaster was the father's sarcastic term for their relationship.

Vol. 2 isn't anywhere near as self-indulgent as its predecessor, but it still plays like the work of a man too in love with his creations to decide which of his darlings to kill - so he ended up with merely a very good movie.

The cheerfully inane comedy Connie and Carla all but suffocates beneath a high-stepping, show-stopping, ear-splitting deluge of musical theater staples, from "Cats" to "Oklahoma!," "Jesus Christ Superstar" to "Fiddler on the Roof."

Travolta is terrific as a bad guy, making Saint almost sympathetic. His co-stars however, flounder in a sea of bad lines, with poor Romijn-Stamos getting stuck with the worst.

A depressingly predictable journey of self-discovery.

A murky and morbid dirge of a gay romance.

Besides terrific performances, it boasts terrific cinematography by Giles Nuttgens that contrasts stunningly beautiful and grimly ugly Scottish landscapes - complementing the hunky Joe's ugly soul, which manifests itself in a truly nasty sex scene involving pudding, catsup and Cathie.

Thornton lends gravity, focus and humor that are otherwise in short supply in this serious-minded but meandering, talky and action-deficient epic.

An ugly-looking mismash of a fairytale.

Though shamelessly derivative and amoral, The Girl Next Door is nevertheless funnier and smarter than most of the pathetic dreck aimed at the nation's teens.

Bereft of inspiration, the agonizingly witless screenplay - blamed by the credits on George Gallo - resorts to pathetic cheap jokes about flatulence and impotence, lame slapstick and that juvenile gag about the horror of two men waking up naked in the same bed.

This satisfying adaptation of a popular novel is mostly an artistic reflection on youthful loss of innocence.

Lethargically paced, badly edited and shot in hideous digital video.

At turns sexy, ultra-violent and sweet, it will infiltrate your brain long after you've seen it.

Surprisingly enjoyable, as adaptations of cult comic books go, thanks to a sense of humor all too rare in the genre, winning performances by Ron Perlman and Selma Blair, and a sweet romance of the kind that made "Spider-Man" a richer experience than its competitors.

So udderly mediocre.

May not set back Danish-American relations, but it's amusing to imagine how this schlock would have turned out under Denmark's most famous director, the American-hating Lars von Trier.

Exciting stuff in its primitive, predictable way.

Not only is Adored amateurish and mawkish even by the standards of American "gaysploitation" cinema, it's weirdly shy about showing nudity and sex.

The real star, however, is Michael Simmonds, whose manic black-and-white camerawork captures the unique vibrancy of New York City. He helps turn one woman's obsession into a valentine to Gotham.