Elevated out of the music-documentary genre to become something of an intriguing mystery -- and one with no neat solution.

The battery of startling shock cuts can get repetitive and the plot has a few potholes, but the palpable atmosphere of vulnerability keeps the drama knotted in tension and the audience rooted to the teens in peril.

Hugh Grant is one of the true phenomena of new millennium moviemaking. In an era in which the broadest and most scatological comedy imaginable rules, he's built a career for himself as a sophisticated light comedian very much in the style of his hero, David Niven.

Director Brown has made a career of chronicling the history of American folk music, and Pete Seeger: The Power of Song is a worthy companion piece to his 1982 debut, "The Weavers: Wasn't That a Time?"

The picture juggles three story threads. It's an excellent character study, a surprisingly effective father-daughter drama and a caper movie littered with surprises.

The real humor comes, once again from Murphy, whose Donkey is so genuinely funny and clever that he very nearly steals the film. Except that it's stolen by Banderas as a rogue Puss In Boots.

The reason Balls of Fury works as well as it does, aside from its low aspirations, is because of the charm of Fogler in the lead. Like Jack Black, but not as sarcastic, he brings a winning enthusiasm to the role.

Breathtaking visual accomplishment.

Martin, who hasn't really clicked in a movie in years, hits the target this time with an Inspector Clouseau who is even more relentlessly annoying (and strangely endearing) than Sellers managed to be in his last several outings.

Bullock has abandoned all her usual cutesy mannerisms, and Reeves is as low-key and convincing as he's been in a role. Whatever else the film is, it's a competent and enjoyable star vehicle.

The echoes of Douglas Sirk melodramas and Lassie movies just add to the fun.

The commentary alternates between witty insight and opinionated bunk, but it's always fun -- and a must-see for movie buffs.

Takes a humorously gentle approach to the culture clash between the primitive and the modern. With wonderfully natural performances by the children, this is a family movie that crosses cultural boundaries in a celebration of the magical possibilities inherent in everyday objects.

There is an element of murder mystery and an edge of conspiracy thriller to Chris Paine's documentary about the rise and fall of General Motors' EV1 (Electric Vehicle 1).

Westfeldt's screenplay and Cary's direction combine to make it the best Manhattan love story since "When Harry Met Sally."

At times a bit stilted, a common quality of first-time directors who try too hard to sculpt every scene, but it's refreshingly bereft of slick cynicism and smart-ass snideness.

Bekmambetov's tone is so gravely serious that the drama tends to become arch and theatrical, despite sardonic punches of dark humor. But his imagery is striking (his imagination overcomes his limited budget), his style is assured and he's given the subtitle adaptation a dramatically dynamic dimension by giving the words the presence of an incantation taking physical form.

Mullan is a great choice as Frank, playing the silent guy with all kinds of baggage perfectly.

Brokedown Palace does have some plot implausibilities but Kaplan, manages to turn some hashed story lines into something substantial and emotionally affecting.

It's a simple film with a direct message, but the glimpses of the surrounding social culture that has adapted to the horrors give this Third World "How Green Was My Valley" its identity.

Overall the movie is a mess, with a mixed-up mythology at its core. It may not be a new holiday classic, but at least it's funny.

In Arcand's skilled hands, this sassy assembly comes together to be a comedy, a satire and a character study that's somehow not a bit condescending.

It moves so fast you almost forget it leaves the characters in its wake.

Isn't so emotionally powerful as the Oscar-winning "When We Were Kings" but which -- in its more intimate way -- still packs a punch.

An old-fashioned Western with all the classic elements -- buddy loyalty, stalwart heroes, despicable villains, plenty of gunfights and marvelous wind-scoured desert landscapes -- marked by some modern ideas about relationships.

It's an elegant nail-biter.

The simple, unpretentious storytelling of Unleashed is a rarity in the glut of underwritten and overproduced action films that dominate American screens today.

Life on the freeway is hell, but what comes next for these workers might be worse.