Yummy and weightless.

Blitz captures the melancholy, the rage, the wackiness and drama of adolescence, and he gets winning performances out of his young stars.

A former Bean hater, I've been converted by Holiday, Atkinson's second, and far superior film version of his TV hit.

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.

Bloody, bone-chilling fun.

Succeeds royally at building a sense of apocalyptic dread. It isn't quite so successful at sustaining that mood, and Fessenden resorts to blurry images of totemic spirit forces and stampeding moose specters to get where he's going. And where exactly is that? To a place designed to scare the bejesus out of us planet-pillaging consumers.

At its best, it's shaggily enjoyable and enjoyably shaggy. It's like steroids on steroids with Robert Downey Jr. as Tony Stark, disarming arms industrialist, tossing off one-liners like comic grenades.

There is a lot to like here, a few things to love. Like the fact that someone in Hollywood can still assemble a cast this large and impressive — someone who does not work for Marvel.

A witty, winning inversion of the famous Arthur Miller play.

Although it often feels like a company-bankrolled promo film, A Lego Brickumentary answers all the questions both Lego novices and Lego nerds would want to know.

Like its characters, it has its faults. But overall, it is a movie of imaginative sympathy that gets into the skin of its characters, into their hearts, and, ultimately, into ours.

It is almost inevitable that Miyazaki, often compared to C.S. Lewis and J.K. Rowling, should have found in Diana Wynne Jones a kindred spirit.

For everyone who has ever asked, "What on earth do they see in each other?"

Brave enough to take up the war from the Southern point of view.

Flavorful and fun. "Muy sabroso y divertido," as Martin might say.

It's a tasty buffet of food gags, both visual and verbal. When they say "We're toast," they really mean it.

An epicurean dream where the dishes conjured up by the characters are as essential to the experience as the characters themselves.

An effectively spooky ghost story with Guillermo del Toro's imprimatur (he's executive producer), Mama is every adoptive parent's nightmare: What if the children you bring home start eating moths and toilet paper, and won't come out from under the bed? And when they do, it's only to do something hurtful?

Filmmaker Dabis based Amreeka on her own family's experiences in the rural Midwest during the first Gulf War. Although the drama heads on a predictable course, Faour brings intelligence and humor to her performance and Muallem, as the smart adolescent turned surly and scared, is likewise sharp.

Dark Blue World is "Pearl Harbor" without the product placements, without the Hollywood bombast, and certainly without the $100-million-plus budget.

Belle, with its country manors and its city slums, its snooty nobles and its fiery idealists, its ballroom dances and barroom conspiracies, brings these themes to a dramatic head: romance and race, privilege and justice.

At its best, Edge of Tomorrow plays like a tripwire time-travel thriller. As it progresses, though, the built-in repetition can, and does, grow tedious.

The Spectacular Now feels genuine in almost every respect, from the unflashy cinematography and the sparingly deployed music cues to the natural, unhurried performances of its two stars. They will get to you, truly.

With its polished mix of traditional and computer-generated cartooning, Treasure Planet doesn't exude the same suspense as the Disney original. You could say it's lighter on its feet -- but then there's less gravity in outer space, anyway.

It's riveting stuff, but unlike Tarantino's work - layered with casual irony, deadpan dialogue and encyclopedic pop-cult references - Killing Zoe is what it is and nothing more: a nihilistic crime film, steeped in carnage and chaos. [14 Sep 1994, p.E02]

Catfish, made on the cheap with digital video, cell-phone cams, and hidden mikes, raises all sorts of questions - about the imaginary realms that open when you click on your computer screen, about cyber-stalking, but also about journalistic ethics.

Although the story has more than a little Lion King deja vu-doo going for it, Kenai (voiced by Joaquin Phoenix) is likable as both a man, and then a bear.

For the most part, the film stays steady-on, celebrating one man's crusade - and one family's heartbreak.