Isn't very good. Not only has Ritter made his documentary a one-sided one, but he commits the journalistic sin of using himself as the film's main talking head. In other words, he's interviewing himself.

A triumph of intelligent adaptation. It shows again how well the great Victorian storyteller translates to film, and makes enjoyable use of a generally first-rate cast.

Will no doubt figure prominently in the awards season. But be warned, you can cut the gloom with a knife.

You won't find a movie that's more fun this season -- but at 2-1/2 hours, it's probably too much of a good thing.

Loud, crass and full of slapstick humor that the Three Stooges would be ashamed of. And it is almost completely lacking in charm and nuance.

Smart, funny and good-looking animation.

Morton deserves an Oscar nomination, but she is unlikely to get one. The movie is too dark and out of the mainstream to impress the conservative fogies who vote for the prizes.

Evokes such deja vu, you'd swear you'd already fallen asleep on the damned thing in the middle of the night on HBO.

Makes "Training Day" -- which was admittedly pretty tough -- seem like a Disney cartoon by comparison.

Though never dull and often visually beautiful, this work of operatic sweep doesn't fulfill its own ambitions.

If you have the patience, its almost endless silences and extremely slow pacing eventually pay off.

Emotionally honest, feel-good saga with a universality that stands out in a season of singularly depressing and cynical Hollywood product.

Norton, returning to cracking form, doesn't try to make the selfish and smug Monty sympathetic -- but he lights up the screen, especially in two fantasy sequences.

A wild ride that effortlessly combines devilish dark humor, slapstick comedy, extreme violence and bitter satire.

The sequel's battle scenes -- especially the climactic assault on the Helm's Deep fortress by the armies of darkness -- easily put those of the "Star Wars" series to shame.

Spanish director Achero Manas' El Bola shows how the boys' bond leads to salvation of a sort for the needy Pellet. He does so with great sensitivity, never sinking into exploitation.

A devastatingly straightforward chamber piece that goes straight to the heart of what this city was feeling in the days right after Sept. 11.

As an actress, Lopez is a bit stiff, as she has been in all of her movies save "Out of Sight." It really doesn't matter much here, given the sparks between her and Fiennes and the fact that the role is pretty much form-fitted to her public persona.

I haven't laughed harder at anything this year, but I would have a hard time recommending this gender-bending gut-buster to anyone who doesn't have a high threshold for crude sexual humor and stereotypes.

Despite its treacly sentimentality, predictability and gutless evasiveness about the power of the church in 1950s Ireland, Evelyn manages to be an enjoyable piece of family entertainment.

A must-see for Nicholson's mesmerizing performance, which would probably hold interest even if the sound were turned off.

Whaley gives an earnest performance, especially when he's articulating his frustrations during his monologues. But it's all relentlessly glum. The film, like Jimmy's routines, could use a few good laughs.

It's a tribute to the sheer professionalism of this crossover charmer that it holds your interest for two solid hours.

A convoluted, pointless thriller that wastes the considerable talent of Max von Sydow.

While Star Trek: Nemesis isn't nearly as good as the best Nicholas Meyer-written movies like "The Undiscovered Country," it is far from the worst, thanks to the topical issues it raises, the performances of Stewart and Hardy, and that essential feature -- a decent full-on space battle.

Makhmalbaf finds room for moments of humor and humanity.

Panders to its audience by glorifying drug dealing and violence in all-too-depressingly familiar ways.

Shapeless, sloppy, badly paced mess.