Fans of figuring skating will enjoy much of the silliness, however, because its better moments have fun lampooning all the hoopla that surrounds the sport and there are cameos from the likes of Dorothy Hamill, Nancy Kerrigan, Brian Boitano, Peggy Fleming and Sasha Cohen.

A deliciously vivid adventure fantasy.

One of the most hilarious and engaging films from producer Judd Apatow's often inconsistent comedy factory, thanks to inspired dialogue, dynamite chemistry between Rogen and Franco and perfectly pitched stoner gags (undoubtedly the result of copious research).

It's an interesting and likably ambitious movie with an ensemble of mostly engaging character vignettes, but, sadly, it misses its mark.

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.

Positioned to be the environmental documentary of the year.

Singer deftly crafts a sleek, unusually tight film that balances comic-book adventure, pulp opera and the fear of being different.

Despite some moments, the movie stubbornly fails to be the kind of sparkling ensemble piece one would expect from its credits -- and the fault seems to lie squarely with Fry's unfocused script, lackadaisical direction and conceptual sleight of hand.

There's an enjoyably literate style here and some humorous moments.

Each star has his moments, and the supporting cast is good, especially Walken, playing one of his less extreme characters; Jane Seymour as his promiscuous wife; and the stunning Rachel McAdams as their daughter and Wilson's love interest.

Zwick's narrative skills keep us hooked on the story, and the first-rate production values and imaginative use of locations (it was shot in Mozambique) give the film an enthralling scope and epic sweep.

Erin Gruwell (Hilary Swank) is real, and for all the dramatic license that writer/director Richard LaGravenese takes in his film, her story -- and the stories of her students -- are moving.

The warmth of Baker as the cuddly nature boy (another idealized image, certainly, but a romantic one) and the intelligence and fire of Lathan give the lesson, and movie, just enough heart to make it enjoyable.

A slow, sometimes difficult film, Bright Future offers little immediate payoff to the patient viewer.

It's so fluid and cinematic that it's hard to even envision how the piece worked on stage.

Like the schoolkids in this adventure, from the opening images to the closing credits, I do, I do, I do believe in fairy tales.

There are a lot of terrific creative energies at play in Robots and they overcome an overreliance on amusement park sensibilities in the animated adventure.

The film is an across-the-board charmer that should appeal to children as well as their parents, aficionados of animation and old-movie buffs who will be challenged to sort out the blur of seemingly hundreds of classic film references.

It lets down in the last act and is probably too mired in serial-murderer-movie formulaics to garner Oscar attention. But it's his tightest, best film since "Unforgiven."

The rude naturalism of the opening scenes between Wilson and Jacob recalls the spirited vulgarity of "Clerks," with dialogue that would be hopelessly offensive were it not so funny and true to life.

It's a bold proposition, and the resulting film has some powerful moments and strong performances, but it fails to be an involving or satisfying drama, and it's not half as effective as the book in creating outrage over what junk food is doing to us.

Behind the dry humor is a sense of hollowness in the two men who obliviously fall back into old patterns of reckless, loveless sex without missing a beat.

Fairly incompetent as a musical and rather silly as a drama.

Never quite transcends its origins as a high-concept action thriller, but the clean professionalism of Donner's direction, the low-key turn by Willis and the street-level heroics make it a satisfying piece of genre filmmaking.

A fairly depressing experience.

The music is truly the thing in Songcatcher and it's awesome, haunting stuff.

Like Lyne's other heavy-breathers, this one has glossy production values, a relentlessly somber mood and its share of sexual gymnastics. But it's atypical and unique in the way it builds a volcano waiting to erupt with nail-biting anticipation and sympathy for all three characters.

It feels too self-satisfied, but the prickly personalities and relationships have the ring of experience.