An excellent documentary equal parts extreme sports and social anthropology.

It has some wonderful moments and a handful of delicious Maughamian characters.

It works as a wistful coda to suggest that the song will go on long after the show is over.

To the movie's credit, the cast is better than average.

There's not a lot of story here and the dialogue lacks the snap one usually gets in New York stories of affluent young adults, but the characters have an authenticity.

A pleasant, old-fashioned kind of a love triangle.

The most noteworthy thing about the Iraq war home-front drama, Grace Is Gone, is that Clint Eastwood composed its musical score and title song, which have both been garnering all sorts of accolades, including dual Golden Globe nominations.

It's a tale with plenty of spirit and a good heart, and yet, this story doesn't so much soar across the screen as it does waddle.

For such a harrowing portrait, Mandoki remains oddly distant but for a few scenes. He makes his points boldly when he should be making his points sting.

Stars are particularly strong. Snipes' fatalism is totally appealing, and Rhames makes a curiously compelling antihero.

It's often quite funny (when it's not spinning its wheels in rehashed skits and recycled gags), but when Myers gets his mojo working and his mind out of the toilet, he's capable of better.

It is charming and at times disarmingly surprising.

It's by far the most violent, most clinical and most sumptuously atmospheric.

Blunt, somewhat artless, but very effective.

Manages to squeeze by on Angelina Jolie's surprising flair for self-deprecating comedy.

Delivers a clever confidence game, if not much else.

It's messy and painful, eased only the admirable modesty of Stockman's writing and direction.

The ads for Stomp The Yard play like a music video and, thus, they are not misleading; the film consists of a series of phenomenal dance sequences, all highly entertaining and expertly choreographed.

A frequently amusing and consistently outrageous but ultimately tiresome farce.

The movie also is designed to be an actor's showcase for Norton and Giamatti, two of the best movie actors of their generation. Each has his moments of fire, but some element is missing from the script that would make this duel of the titans riveting.

It's colorful and determinedly kooky, with "Kung Fu" references and an H.R. Pufnstuf interlude between performances.

Although budding star Mendes and Washington sparked in "Training Day," there's less chemistry between them this time as she glowers and frets in her role as a big-city cop.

It's the first Hanson movie in a decade that doesn't quite click into place.

All the good intentions in the world and solid performances from three of the biggest and most respected movie stars of our time cannot disguise the fact that Lions for Lambs is resting on a talky, disjointed and not-very-well-thought-out script.

It may not exactly be a traditional love letter to his wife but actor-turned-executive producer William H. Macy has given her a plum part as Bree in screenwriter-director Duncan Tucker's offbeat road movie.

All told, the movie also is a tremendous downer. The script goes for a vaguely upbeat conclusion, but it has no spiritual dimension that the viewer feels with any emotion, and it conveys a hopeless, pessimistic future for the interconnected world that it portrays.

There are too few surprises and even less subtlety in the telling. We can only sit and wait for the next bomb to drop on this poor exploited girl.

Charged with raucous energy and a satirical slant, this witty history lesson is preaching to the converted, sharing a knowing wink with everyone who's ever inhaled.