Takes a fascinating look at the origins and impact of a ballad that's been called "one of ten songs that changed the world."

The Disney cartoon roots are in there somewhere, but this is an oil painting come to life.

Involves two mysteries -- one it gives away and the other featuring such badly drawn characters that its outcome hardly matters. But the picture looks great.

Exceptional.

Neither original nor presented in a convincing way.

Superb documentary.

A nice little holiday movie.

A loose, lighthearted romp that's a notch above the usual buddy comedies.

Elusive and compelling.

It blends an intriguing concept with a suspenseful plot, and the result is a gripping 103 minutes at the movies.

An excellent film noir.

What we have here isn't a disaster, exactly, but a very handsomely produced let-down.

A domestic melodrama with weak dialogue and biopic cliches.

A sometimes interesting remake that doesn't compare to the brilliant original.

Dreary.

Leigh doesn't sentimentalize these tragic, dead-end lives but allows his characters to be ugly and stupid, to make horrendous mistakes. Sometimes they're laughable, and yet there's never the sense that Leigh is mocking them.

Clever, exceptionally well-written film.

Stupid, derivative horror film that substitutes extreme gore for suspense.

Nicely photographed and beautifully scored.

A big, gorgeous, sprawling swashbuckler that delivers its diversions in grand, uncomplicated fashion.

Offers a quixotic array of characters and flashbacks that tests patience, but once the viewer understand the movie's cadence and rhythm, the story gets better and better until it builds into a crescendo that's emotional, dramatic and -- best of all, perhaps -- fitting.

Passionate visual indictment of the perilous state of our high-tech world.

A warm, funny family story that defies popular notions about immigrant families.

A disjointed movie with uneven acting and too many scenes that defy belief.

Nelson's work is relentless, grueling and courageous. He makes a large blunder in having American actors (David Arquette, Steve Buscemi) play Hungarian Jews with American accents, while Harvey Keitel plays a Nazi officer with a German accent.

Nicely performed by a quintet of actresses, but nonetheless it drags.

A compelling, sympathetic portrait.

So good it's scary.

It isn't simple bad taste that Formula 51 deals in, but a total vacuum of feeling.

Entertaining.

Delightful love story.

Earnest, heartrending look at the divide between religious fundamentalists and their gay relatives. It's also heavy-handed and devotes too much time to bigoted views.

At best this is a film for the under-7 crowd. But it would be better to wait for the video. And a very rainy day.

Lackluster mob picture.

The dialogue, heavy on sarcasm and puncturing insults, never captures the World War II period but sounds ridiculously anachronistic.

Nearly every bodily fluid makes an appearance in "Rules," a mean-spirited paean to hedonism set at an East Coast college where students attend class only occasionally, and then only to perform oral sex on instructors.

That the movie becomes silly isn't necessarily a problem, but it also becomes tiresome, degenerating into a series of martial arts interludes -- everyone unaccountably leaves his guns at home.

Sweet-natured, meticulously observed love story.

The details feel authentic: The empty Paris streets, the profanation of German anti-aircraft guns atop belle epoque buildings. And Devaivre's adventures provide high tension.

Perhaps the best teen date movie ever set in the year 1914, "Tuck" represents a brave leap against the tide. No sex, no car crashes and minimal violence. It just might be a hit.

Lacks emotional power.

Documentary reaches an exalted level of filmmaking. It explains the very fabric of American society.

Even camp status eludes this tepid and misguided picture.

How to Draw Bunny won the Special Jury Prize at the 2002 Sundance Film Festival, which must go to show how scarce noteworthy documentaries are.

Kids will enjoy the wisecracks and foolishness, and the big musical production numbers are toe-tappers -- or would be if the veggies had feet.

A mystical tale of two souls, joined in love but divided in society, seeking redemption and understanding before they pass to another plane.

A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.

In Hollywood, where integrity is rapidly consumed and careers defined by market value, there's trash and there's trash with a pedigree.

Gets everything wrong, starting with a title that indicates a somewhat innocent romantic transgression.

Marks Chan's full arrival as an actor. Take away the violence - - and there's plenty of it for those who crave Chan's physical pyrotechnics -- and he's still an immense pleasure to watch onscreen.

Graham Greene ("Dances With Wolves") in one of the year's best performances, he's a fully dimensional character: pathetic and shrewd, tragic and bitterly funny.

Consisting mostly of talking-head interviews, the film isn't especially dynamic, but it brims with insightful, poignant memories from survivors.

Has been called an exploitation of a tragedy, but in fact it's an expose of tragic exploitation.

A listless, predictable effort, occasionally redeemed by witty lines and charismatic performers.

A pedestrian film that provides little more than a superficial treat.

A silly, cross-cultural shoot-'em-up -- the sort of movie that will work for those with some time to kill (no pun intended).

There's a certain formulaic and familiar quality about Sweet Home Alabama, but it doesn't matter.

Too predictable and too self-conscious to reach a level of high drama.

Haunting music, the seriousness of the allegations and riveting interviews with Alexander Haig, Christopher Hitchens (whose book inspired the film) and others give "Kissinger" extra drama and urgency.

A strange but oddly memorable film.

Movies don't get much worse.

Its virtues can't outweigh the disappointment of a movie that might have been a rousing old-fashioned epic, or better yet a provocative reworking of an old epic, and instead became a muddle.

What The Banger Sisters offers in place of an eloquent statement is the charm of two actresses at the top of their game in flashy roles and a smart script that's decidedly more coarse than sentimental.

Pure of intention and passably diverting, His Secret Life is light, innocuous and unremarkable.

So original, so funny, so alive with drama, intrigue, mystery and colors that you want to see it again and again.

It provokes nothing but yawns, and the sex it explores is stuff everybody knows about and says, "So what?"

A lovely, evocative tour de force. So why does it seem we should be enjoying it more?

Disturbing film.

It's downbeat material and it tends to drag a bit, but Jia's performance is so unsparing and intense -- and the film so compassionate and chaste in its approach to a life lost and recovered -- that Quitting ultimately satisfies.

The film's appeal has a lot to do with the casting of Juliette Binoche as Sand, who brings to the role her pale, dark beauty and characteristic warmth.

Mean-spirited and not remotely clever, though it strives for archness at every turn.

Here, as in the "Friday" movies, the jokes are big and rude and vulgar and very funny.

Somehow, it all works -- even if Miller relies on a plot that meanders a bit and loses some of its luster.

What we have is the case of a movie with a straight man (Jason Lee) who really is funny, but with a comic (Tom Green) who sadly isn't.

Interviews with Pinochet's victims put a human face on the systematic torture that existed under his rule.

It's so bleak that it would play like a contrived neo-noir if it weren't so consistent, committed and obviously sincere.

A film that has unusual expectations from its audience -- and that's a welcome relief.

Sexy, peculiar and always entertaining.

The film is a failure in just about every way, save for its acting, which is adequate.

Gazecki's film is so journalistically flawed and needlessly melodramatic that it will be treasured only by those who share his singular vision.

Both curious from a cultural perspective and refreshing.

Has a certain B-movie integrity -- a muscular commitment to grabbing the viewer's eye and keeping things moving. It won't win any awards, but it holds interest.

The plot twists in Little Secrets sustain the movie when it gets a bit too schmaltzy. This excess of cuteness and sentimentality won't be a flaw to moviegoers in the mood for it.

Perry isn't the only thing wrong with Serving Sara, but he's the thing that takes a pleasantly mediocre movie and turns it into an unpleasantly mediocre one.

Under Fontaine's direction, family dysfunction is an intense experience with unexpectedly positive repercussions, even if the steps between are painful and potentially deadly.

As the man who made the monster and now has to live with it, Pacino's a blast.

The thinking part of this thriller needs work. It's not nearly as intelligent, thoughtful or penetrating as it promises to be.

An intelligent literary mystery story that holds interest and is intermittently affecting, but it never soars.

Little gem.

Just one big wipeout.

Occasionally, this film is funny and cute. When the family's little girl narrates, it reaches a level of humor that is ironic and endearing.

A famous French actor using his art to work through the loss of his wife and daughter in a car accident. The strategy works, at least for a while.

A culture-clash comedy that, in addition to being very funny, captures some of the discomfort and embarrassment of being a bumbling American in Europe.

Too contemplative to be really funny.

In terms of adrenaline, XXX is one of the most satisfying entries this summer.

Funny, riveting look at the music scene that ruled Manchester, England, from 1976 to 1992.

Has the three elements we've come to expect from Eastwood: the steady pace, the shadowy cinematography and, of course, the presence of the Big Guy.

Eye-catching and entertaining but less inspired than the original.