My guess is that The Dreamers will have a certain resonance for those of us who discovered movies and sex at the same time during the '60s. For the rest of you, the film is a curiosity about cinegenic youths baring their bodies while thinking they are baring their souls.

The coda to this fine, loving tribute offers restitution, though no tidy resolution.

Rarely do you encounter a movie without a shred of originality. You Got Served is such a cinematic vacuum.

A modest and obviously heartfelt endeavor.

Doesn't take itself seriously, and that's a good thing.

Easy to like, and easy to forget.

Touching the Void is, indeed, about living, but not the exhilarating kind. It's about survival -- raw, real, by force of will.

Profoundly knuckleheaded.

The best reason to see Along Came Polly is the supporting cast.

You don't have to be a fan of the TV show to enjoy watching this dog chase his shtick.

Boasts exceedingly high levels of improbability and an embarrassment of continuity and character shortfalls, but still has a certain bubbleheaded charm.

It's a masterpiece.

Plays with cultural stereotypes, and upends them as well. The picture starts as one thing and turns, dramatically, movingly, into something else.

Much as I adore Martin and Hunt, whose matching tongue-in-cheek delivery and finite patience make them seem more like siblings than spouses, their movie is indistinguishable from an Afterschool Special.

Cold Mountain is the equivalent of comfort food: old-fashioned, earthy (lots of root vegetables), satisfying.

There are chases that feel way too long, and dialogue that feels flat. Affleck and Thurman make a handsome duo, but there's no spark between the actors.

Though the story dawdles at times, the visuals are splendid.

The good thing about The Company is that nothing much happens. The bad thing about The Company is that nothing much happens.

Monster brings the horror stories of everyday life down to a recognizable level -- even as the actress inhabiting that story remains startlingly unrecognizable.

As artistic achievements go, Mona Lisa Smile is strictly a paint-by-numbers affair. No shading. Little in the way of perspective. To call it one-dimensional would be an act of charity.

McNamara, a robust conversationalist, is so lively that he bursts out of what is essentially a talking-head documentary.

Remember the name Shohreh Aghdashloo. The heartbreakingly fine Iranian actress is only a subsidiary character in House of Sand and Fog...But she is the soul of this pungent film.

The story hooks us because stars Helen Mirren and Julie Walters look as fetching in woolens and Wellingtons as they do in the altogether. But it reels us in because it is about people who for so long have paid lip service to making a difference that they are profoundly altered when they actually do.

A wickedly funny, Naked Gun-style parody that conflates old-style private-eye pics with Shaft and, yes, Rudolph, the Red-Nosed Reindeer.

The Return of the King is too long...The various story lines...come together in stilted, episodic ways. The narrative is less-than-seamless.

Girl With a Pearl Earring is really about watching paint dry. S l o w l y.

Partly because of Caine and partly because of meticulous work by veteran director Norman Jewison, The Statement is a fiction done so effectively, it rings true -- even slick lines that may otherwise be rancid.

With the likes of Nicholson, Keaton, Reeves and Peet -- and a fleeting, funny few minutes with McDormand -- Something's Gotta Give is never less than entertaining. And once in a while it's sweetly, and extremely, funny.