The paper's motto is "All the News That's Fit to Print." But all that news doesn't necessarily fit neatly into a 90-minute doc.

For the casual viewer who feels like maybe all the Sith hoopla is worth checking out, well, it's like tuning in to the season finale of "24" without having watched a minute of its lead-up episodes.

A stylish thriller so highly strung it zings, gives us Hopkins, an actor at the top of his game, in material that's only middling.

Yojiro Takita's movie simultaneously tickles tears of mourning as it wrings laughs about the meaning of life.

This mildly amusing tale of infidelity, blackmail, class differences and corporate greed not only strains credulity - it strains for laughs.

Zooms along with confidence, smarts, and some of the coolest car chases this side of the Indy 500.

A delicately managed piece that is by turns intimately detailed and elliptical, and that's an approach that suits the tangled emotions of its two protagonists.

The result is a funny and raucously lewd comedy fueled with enough penis jokes to keep an actual fraternity in stitches for a trimester.

Documents the emotional and spiritual journey of three orphans.

Darren Aronofsky's Noah is the Old Testament on acid. It's the movie equivalent of Christian death metal. It's an antediluvian Lord of the Rings, fist-pumping, ferocious, apocalyptic, and wet - very wet.

Whip It (which takes its name from a play in which skaters hold hands and form a human whip to propel the last skater forward) is heaven on wheels.

Like "Compliance," Z for Zachariah shows how terrifying and redeeming interpersonal relationships can be. We crave human contact, yet it can still destroy us, even at the end of the world.

Apart from its intriguing religious implications, the film is also a compelling look at the family, community and congregational pillars that support Lior.

While the film grows increasingly preposterous in its final act, the enigmatic performances of Youn and Jeon carry the day.

An ingenious blend of sci-fi and mystery.

Presented with an economy and emotional cool that add to, rather than subtract from, its dramatic impact, The Girl on the Train reverberates with a quiet, seductive power.

When it works - and it doesn't half the time - it's as if Monty Python were back, putting its merrily imbecilic stamp on the dark world of terrorism.

Cinema as jazz. More precisely, jazz traded by the likes of Charlie Parker, Billie Holliday, Chet Baker -- blurry, opiated, jagged with melancholy and stone cold beautiful.

It's a stunning Roman triumph.

Moon is a deceptively simple study of alienation, paranoia, and loneliness.

Like "The 40-Year-Old Virgin" and "Knocked Up," Sarah Marshall has all the ingredients of the Apatow brand. Alas, it's beginning to feel generic.

This is a movie about friendship, about foolhardy endeavors that get your adrenaline going and make you feel life buzzing in your toes. Written with wit and concision and remarkable confidence, Bottle Rocket is a joyride worth taking.

Disturbingly good. The writing and the performances are such that as things go from bad (sad motel-room affairs) to worse (a 4-year-old gone missing), the film's characters get inside your skin, your soul. It's enough to make you want to cry.

A deeply involving and disturbing movie.

Director Jennifer Yuh Nelson, who oversaw the elegant title sequences from the first film, likewise gives Kung Fu Panda 2's series of flashbacks a different look, harking back to Chinese shadow puppetry and delicate watercolors. With its mix of vibrant CG and classical elements, the movie dazzles.

It's an Alzheimer's allegory, full of humanity, heart, and humor.

Like "Tremors," only ickier, Slither is a tongue-in-cheek horror flick that skewers the genre while delivering seat-squirming scares.

Manny & Lo, wonderfully photographed (by Krueger's brother, Tom) and full of telling detail, is a wry, intelligent picture with a sweet, but hardly saccharine, story to tell. [06 Sep 1996, p.03]