Loving but overlong meditation on movies and the people who make them.

Solid family entertainment, a handsomely crafted and well-acted new film version of Natalie Babbitt's classic 1975 children's book.

A not particularly revealing documentary.

A rote exercise in both animation and storytelling.

Not as bad as rumor would have it. It's worse.

Some of the year's most arresting female performances justify White Oleander, a highly episodic melodrama.

Essentially a weird series of nonsequiturs. I'd rather be watching a sequel to the much-maligned "Little Nicky" -- a Sandler film that was at least trying to do something interesting -- than this failed experiment in fusing high and low culture.

Dong, who is gay, does his best to stay objective. Just how these families interact may surprise you.

Probably the most definitive portrait of Johnson that we are likely to get.

Doesn't have the polish of "Ocean's Eleven" - but it does have George Clooney.

Turns out to be an exercise in flatulent pretension, puffed up with a bogus, empty "spirituality" and dependent on a plot filled with implausibilities.

A stinker.

Enough SpongeBob-meets-Monty-Python silliness to give adults a kick as well.

An astonishing re-creation of the Londonderry massacre of January 1972.

It's frightening enough, to be sure, but too often it feels like a well-executed but rote exercise.

Director Francisco de Lombardi fills his sensual film with plenty of gorgeous shots of the lush landscape and its equally exotic, miniskirted "fauna."

Stevens has a keen sense of the absurd, but the whole thing is too forced - and his use of "rotomation" (last used in Richard Linklater's "Waking Life") to give a Timothy Leary-swirl to key dramatic moments winds up looking incongruous.

The spaniel-eyed Jean Reno ("Ronin") infuses Hubert with a mixture of deadpan cool, wry humor and just the measure of tenderness required to give this comic slugfest some heart.

The script is so overstuffed with painfully obvious clues (the constant patina of sweat on the cocky doctor's face, for one) that we don't need the ominous rumbles on the soundtrack to tell us where we're headed.

Has a desolate air, but Eyre, a Native American raised by white parents, manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor.

Suffers from an air of frosty detachment and a disappointingly stiff performance from Jagger, who also provides an unnecessary voice-over narration.

The documentary is much too conventional -- lots of boring talking heads, etc. -- to do the subject matter justice.

The material in this spy spoof is, pardon the pun, awfully frayed.

This time out, Broomfield comes up with maybe enough halfway decent material for a 10-minute segment on a second-rate tabloid TV show.

It's only when you're leaving the theater that her spell wears off and you realize just how bad the movie, directed by Andy Tennant, really is.

Quirkily likable comedy-drama about a family trying to coping with loss, contains three of the best performances you're likely to see in an American movie this year.

This brisk, British-American co-production is one of the better political/historical documentaries to come out in some time.

The story doesn't break any new ground, but the movie has energy.