It's a highly erotic work that at no point seems staged. Credit brilliant use of fog, mirrors, silhouettes, slow motion and special effects worthy of a music video.

The plot of Attitude isn't exactly original and won't have you sitting on the edge of your seat. But Nilsson knows how to create a noirish mood, and some of the camera work is interesting, if pretentious.

Only really little tykes will find the surplus of pratfalls and poo and fart jokes a hoot.

Despite an empowered female protagonist, manages in its own way to be as misogynous as "In the Company of Men."

De Villa has created a truthful representation of a colorful community.

Captures some remarkably vivid present-day performances by the aging performers.

The problem lies with the paucity of sizzle between the romantic leads, Renée Zellweger and Ewan McGregor. They just don't look like they're having any fun together, particularly the bony Zellweger, who has trouble filling out the wow-worthy ensembles and perpetually looks like she's sucking on a lemon.

Much of the action is strident and cartoonish -- but the romance at the core remains tender and true.

A thinking man's buddy movie.

It's a hushed work of restrained emotions, elliptical storytelling and spare dialogue, peopled with smart, authentic characters who have drawn you into their lives before you know it.

It's mostly a political thriller, contingent on a love story. It's kind of noirish, subtly humorous and intermittently confusing.

The tiny stage can barely contain Reno's gale-force personality, as she paces and rants a stream-of-conscious monologue.

Hurt, who starred in Kwietniowski's earlier study in compulsion, "Life and Death on Long Island," is oily perfection as the devious Victor.

Toothless, unbelievable and not particularly funny, New Suit is no threat to "The Player," "Swimming With Sharks" or "The Big Picture," to name but three more interesting pictures in this inside-baseball genre.

As irresistible as movie-theater popcorn - a lavish, reasonably intelligent, well-acted sequel with kick-butt effects that outdoes its predecessor, 2000's "X-Men," in almost every department.

Lizzie McGuire's "Movie" doesn't try to be anything more than a superficial escapist fantasy for fans of the show.

Settles into an unflinchingly honest coming-of-age portrait.

Many of the kids seem to be social outcasts of one kind or another, but Spellbound, which will show on cable later this year, doesn't dig deep enough to disturb the movie's relentless feel-good tone.

Builds steadily from its smarter-than-your-average-horror-film beginnings to a genuinely cunning psychological thriller with a third-act twist guaranteed to shock even the most eagle-eyed watchers.

Features all too much footage of the scowling Burns, who has a narrower range than almost any actor working in Hollywood these days.

An exercise in drudgery... The whole thing is so patently uninteresting it's hard to see it as anything but a Douglas family vanity project.

The only pro involved in this amateurish labor of love is veteran character actor Arthur Nascarella, cast as Jack's florist father.

Prywes has produced a technically accomplished nostalgia piece on a shoestring budget, but the plotting is too sitcom-lite to support its aspirations to magic realism.

Nasty but compulsively watchable.

Excellent performances redeem Jordan Melamed's gritty teenage version of "One Flew Over the Cuckoo's Nest."

A Southeast Asian thriller that positively reeks of atmosphere - but is woefully lacking in narrative credibility or character development.

Konchalovsky, best known here for "Runaway Train" (1985), takes on a difficult subject with a light mix of dark humor and pathos.

Eventually turns somber, with stark depiction of mass graves and suffering refugees. The final scene will break your heart.