Davis Guggenheim, the St. Louis director who won an Oscar for "An Inconvenient Truth," mines less controversial material this time around.

Two incompatible movies duke it out in Bandslam. Although it's the wimpy teen musical that prevails, it's the misfit coming-of-age story that leaves an impression.

There's little that's new in the retelling, except mellowed musings on Environmentalism 2.0.

Streep is astonishing, conveying Child's gusto, her quavering voice, even her height.

This movie may be sickly sweet, but it's harmless; and as a handcrafted antidote to a toxic toy story like "G.I.Joe," Paper Heart has healing properties.

More scenic than scary.

The sharpest parts of the movie hack through the Hollywood jungle with an insider's certitude. But Apatow is so grounded in the comedy circuit that he can't quite capture the emotional wavelength of the life-and-death drama.

While it may not be a smorgasbord of red herrings and red meat, Flame and Citron is often chilling.

This isn't just another crime story, and it would be misleading to suggest that it has anything to do with stylish gunplay, exhilarating car chases or brutal fistfights.

Of course, there's a kind of reverse snobbery in touting cheap movies over polished ones. But if Not Quite Hollywood is not quite convincing, it is quite entertaining.

It may not be original, but Adam could leave a lump in your throat.

Mired in phoniness up to its neck. And above that, there's nothing.

During a summer with the usual transforming robots and young wizards, this chilly flick is a bit of a break, and there are worse options than letting this Orphan in the door.

It's often obscenely funny, but it tickles more than it stings.

A movie that will be discovered, embraced and shared with friends like a favorite record album.

Just when this black-and-white, microbudget movie seems poised to spring an indictment of the Dickensian social order, it ends, but in a redemptive ray of color.

Soul Power is both a funk-tastic time capsule and a timeless celebration of the human spirit.

We're left with an impression of a vivacious pioneer; but warm shouldn't have to mean fuzzy.

For the many mavens who aren't familiar with Varda, this autobiographical documentary will be puzzling, in the best and most literal sense.

At once an unforgettable war film and a brilliant character study.

Of all the films to come out the conflict, Afghan Star is the most provocative, because its message that people are essentially the same is a dubious, double-edge sword.

This broadside against sharia law lacks the finesse of an import, but it's effectively melodramatic.

$9.99 may not be entirely successful from a dramatic perspective, and it certainly offers little enlightenment about the meaning of life. But the film is so intriguing in other ways that it's definitely worth a look.

Shot mostly in black and white and imbued with a romanticism that's at once nostalgic and exhilarating, Tetro sneaks up on you. What threatens to be a mere exercise in style proves to be as involving as it is inventive.

With exquisitely simple images and minimal dialogue, Seraphine is both haunting and humane.

Sometimes macabre and sometimes manipulative, but the way it speaks to the spirit is miraculous.

Terminator Salvation is a tale told idiotically, full of sound and fury, signifying nothing.

It sustains a palpable fatalism in such recurring details as a whirring buzz saw and the cry of a loon, while the static camera and lack of musical cues enable some unforeseeable plot twists.

The clichéd script doesn't develop the secondary characters or the critical theme of the mutants' alienation.

Anyone suggesting that an Italian film could rival the style and grandeur of "The Godfather" might end up sleeping with the fishes. But Il Divo delivers.

Unexpectedly poignant.

The success of the three, separately screened films -- the first set in 1974, the second in 1980 and the concluding segment in 1983 -- depends not on their specifics, but on their ability to sustain an atmosphere that's appropriate to the dark but haunting story.

The problem with In Praise of Love is not that it seems to be possessed by a kind of free floating anti-Americanism. I'm not all that crazy about some of the things this country does, either, and I detest some of the big-budget movies Hollywood makes. The problem with In Praise of Love is that it never shuts up. [1 Nov 2002, p.E4]

A Knight's Tale succeeds as light entertainment if not as historical record. [11 May 2001, p.F1]

With a deadly slow beginning and an unnecessary overload of special effects, this sequel is incredibly average, doubling the number of explosions and cinematic tricks, but cutting back on story, plot and characters. [24 May 2000, p.E4]

It would be a disservice to describe "Perfect Blue" as a well-made cartoon. It is simply one of the richest and most suspenseful films of the year. [03 Aug 2001, p.E2]

A semi-sweet but not all-that-satisfying Canadian import, set around a lesbian-run bookstore. [17 Sep 1999, p.E3]

Sure, the movie causes a few jumps. But they are the cinematic equivalent of having someone jump out from behind a door and yell boo. [23 July 1999, p.E1]

It's not that anything is terribly wrong with Muppets From Space. It just could have been better had the humans been funnier or the story more sharply conceived. Suffice it to say, Jim Henson, you are deeply missed. [14 July 1999, p.E3]

Highly unconventional in structure and tone, the story is engrossing and exquisitely acted. [17 Jun 1999, p.14]

All that complexity backfires at about the midpoint, leaving viewers with a standard yarn about a popular guy who makes a grossly insensitive wager after his trophy girlfriend drops him. After that, it is all a case of "been there, done that." [29 Jan 1999,p. E3]

Willard Carroll's poignant, witty script and graceful direction make up for some soap-opera moments. [24 Jan 1999, p.D8]

What saves the movie from taking a nose-dive is the confident performance of Helena Bonham Carter and some genuinely funny scenes involving her character. She plays Jane, a smart, feisty, rebellious young woman who is confined to a wheelchair because she is dying of ALS (Lou Gehrig's disease). [22 Jan. 1999, p.E3]

An odd mix of special effects, cartoonish adventure and father-son bonding isn't very funny or poignant. [20 Dec 1998, p.C9]

Its main pluses are that it's imaginative and, at times, very funny. Its main drawbacks are too many humans and an overall tone that is much too dark and edgy for very young audiences. [27 Nov 1998, p.B3]

Gets boring for adults, but kids will enjoy it. [03 Jan 1999, p.C10]

It is one thing to hit an audience over the head with a message, but Belly puts it in a big steel drum and drops it on you from a fourth-floor window. [04 Nov 1998, p.E3]

Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]

The Last Days manages to accomplish something even those other esteemed works do not: It melds meticulous historical accuracy and rare film footage with an achingly human spirit provided by five survivors. And all this is delivered in a fresh, concise manner. [12 Mar 1999, p.E3]

The movie is not great, but it is sincere and has enough powerful segments and raw energy to keep it exciting and provocative. [13 Dec 1998, p.D8]

Without Limits is best when it's on the track. When it goes off the track, it sometimes does just that. [13 Oct 1998, p.E3]

Sometimes the juxtaposition of moods is a bit jarring and the collection of varying characters almost too much. Mostly though, they work to create a weirdly fascinating film that unfolds leisurely, offering vivid intensity, some humor and strong performances along the way. [13 Nov 1998, p.E3]

The accents are thick, but if you listen closely you'll be well rewarded with smart, wry humor, peculiar but likable characters and a story that while slow in spots is altogether intriguing. [1 July 1989, p.E6]

The climax is a little jiggy, almost stupid, given how sharp the dialogue and situations are until that point. It's as if Baumbach just ran out of steam. But given how much there is to like about the movie, its flaws are forgivable. Yes, it's a bit slow in places and talky but it's also funny. And much o f the humor is subtle and smart and nicely calibrated. [19 June 1998, p.E3]

The animation is not as sharp as Disney's efforts and the songs are only average, but kids will enjoy it. [07 Jun 1998, p.C6]

A solid remake of Victor Hugo's classic about a man who steals a loaf of bread and the police inspector who hounds him for years because of it, with Liam Neeson and Geoffrey Rush. Director Bille August's focus on the love-story angles blurs the epic messages about freedom, honor and justice. [07 Jun 1998, p.C6]

And in spite of all that predictability, there is enough action, tension and Willis-like funny lines to earn this movie a passing grade. [2 Apr 1998, p.41]

Wide Awake is a children's movie that does not rely on special effects, computer-generated trickery, bathroom humor, slapstick violence or inappropriate adult situations to satisfy its audience. [03 Apr 1998, p.E7]

So I'll just say this: The Big Lebowksi is an excellent movie - and damn funny.

In short, "Fallen" hits the halfway point, it goes down and can't get up. [16 Jan 1993, p.E3]

This 19th Bond film has all of the required scenes, lines, gags and gadgets to keep Bond fans pleased - as well as a few new twists to update and energize it. [19 Dec 1997, p.E3]

It's a good if formulaic adventure film that's lifted above the routine by Hopkins and Bart. [26 Sep 1997, p.E03]

Pellington, an award-winning music video director, has a good eye for setting scenes, although the movie falls a few times into a choppy video clip-to-video clip rut. [26 Oct 1997, p.04E]

An airy comedy that will stimulate the boomers' nostalgic feelings and deliver a few good laughs for the kids who can't reminisce. [22 Aug 1997, p.06E]

SHAQUILLE O'NEAL: Don't give up your day job. After a lackluster outing as a genie in "Shazam," the LA Lakers star does little to put any shine on "Steel," a movie that draws its laughs from lots of rock-em-sock-em pyrotechnics and comic book visuals.[15 Aug 1997, p.3E]

While Career Girls has an overall somber tone, it is sparked by Leigh's humor and the actresses' - particularly Hannah's - verbal quickness... While the film may not be very satisfying to viewers, it is intriguing to watch Leigh's work and to see the women's characters develop. [22 Aug. 1997, p.6E]

By the time the movie's ugly conclusion is reached, we are so numbed by the mindless degradation of it all that we couldn't care less who wins. We know we didn't. [01 Aug 1997, p.03E]

Difficult to watch at times, Star Maps is imbued with enough raw humor and emotionalism that the overall result is gripping. [22 Aug 1997, p.3E]

Proving that the studio should stick with fairy tales and myths instead of literature and history, Hercules is presented as a lively, animated feature with whiplash-quick one-liners and a heavenly score by the inspired team of Alan Mencken and David Zippel. [27 June 1997, p.3E]

While the student travails explored here are time worn and insipid, Croghan looks at them from a fresh perspective and with humor. The combination makes this debut film more than just another been there, done that experience. [25 Apr 1997, p.03E]

Disney serves up a warmed-over tale that was never one of its best to begin with and mistakenly tries to substitute teen-angst-ridden Christina Ricci for the totally adorable Hayley Mills. It's a serious mistake. [14 Feb 1997, p.03E]

This wonderfully wry, painfully funny comedy about a middle-aged boy and his mother is Albert Brooks' most accessible movie. [17 Jan 1997, p.03E]

Among the pleasures of "Ghosts of Mississippi" is the rare chance to see Goldberg, who is such a fine actress, in a serious role. [03 Jan 1997, p.E03]

THIS is one tough movie....When its uncompromising final scene has faded, we are emotionally shattered, left with some inkling of how the citizens of Salem, Mass., must have felt 300 years ago, after a reign of self-righteous, hysterical, scapegoating terror had swept through their claustrophobic town, sending a significant portion of its tiny population to the gallows, or worse. [20 Sept 1996, p.3E]

This film might have been more accurately titled Bungle All the Way because everything that can be wrong, is. Not only is the product miscast from top to bottom, it's also tedious and painfully not funny. [22 Nov 1996, p.3E]

This amiable, poky one-joke movie - Bill Murray is saddled with an elephant - gets brief jolts of comic energy when Matthew McConaughey shows up as a manic truck driver. Otherwise, it's got a few laughs, and could use a few more. [02 Nov 1996, p.51]

The central question of Trees Lounge is whether Tommy will ever get wise to himself. The movie does not exactly provide an answer to the question, but Buscemi poses it in an entertaining, insightful and humane way. [24 Oct 1996, p.4G]

THIS odd, anachronistic movie is the story of a couple of white guys (Val Kilmer and Michael Douglas) messing around in 19th-century Africa, and a couple of lions who want to eat them. I kept rooting for the lions. The Ghost and The Darkness is not a bad movie, and the scenes with the lions are fearsome. But it is so old-fashioned in its view of British Colonial Africa that you keep expecting Stewart Granger to wander in out of "King Solomon's Mines" (1950). [11 Oct 1996, p.3E]

A strange but compelling documentary. [08 Nov 1996, p.4E]

The Glimmer Man starts out like Seven, but pretty soon it dwindles into nothing. [09 Oct 1996, p.5D]

IF you can accept the notion of a sympathetic character who is also a hit man - in other words, if you went along with the game in "Pulp Fiction" and "Bulletproof Heart" - you should enjoy 2 Days in the Valley, a fast-moving, sometimes violent, sometimes sexy, sometimes surprisingly funny story of crime and romance in the San Fernando Valley. [27 Sept 1996, p.3E]

Hill fans - and I'm one - should find Last Man Standing intriguing, but it's certainly not among his top four or five works. [20 Sep 1996, p.3E]

With an incredible eye for nature, both its landscape and its particulars, and a wonderful script, Ballard has crafted a movie that dignifies the lowly goose and tells a remarkable story about family at the same time. [13 Sep 1996, p.3E]

A film whose beauty lies in the fact that it's never pretty. [30 Aug 1996, p.3E]

First Kid is filled with slapstick and predictable jokes. The kids in the preview audience seemed to enjoy it, despite the commendable fact that it generally avoids bathroom humor and age-inappropriate gags about children's sexuality. [30 Aug 1996, p.3E]

A VERY Brady Sequel may be the world's first ecologically friendly movie, 90 minutes of recycled situations, dialogue and Day-Glo elevated from the small screen of the '70s to the big screen of today. It's a sunshine day where there is nothing new under the sun. It's also, in the Brady vernacular, far-out fun in a groovy kind of way. [23 Aug 1996, p.6E]

It flows, but it never gets tense, and the climax just sort of passes unnoticed. The movie reaches too hard to push messages about human nature that are really right on the surface. Complicating things is the casting of Brando and Kilmer, who as usual, are not in the same movie as the rest of the cast. [23 Aug 1996, p.3E]

Unlike many action-flick heroes, Snake Plissken is more than welcome the second time around. [09 Aug 1996, p.5E]

Taken as mindless entertainment, "Chain Reaction" is a cut or two below "Independence Day" and a couple of cuts above "Fled." It's a little better than "Eraser," not as good as "The Rock." [2 Aug 1996, p.3E]

Manny and Lo is a significant achievement for Krueger, who has shown herself on this first outing to be a smart, sure and strong director. [23 Aug 1996, p.6E]

The film is hilarious, however, and the comic bits are nearly enough to distract audiences from the illogical turns of the screenplay. [19 July 1996, p.3E]

A turgid, overlong comedy. [19 July 1996, p.3E]

The film's directors delicately balance the good against the evil and use humor in both song and script as a counterpoint to the darkness. [21 June 1996, p.3E]

It's possible to make a successful comedy about stalking, or virtually any other subject. But you probably need a lighter touch than young director Ben Stiller (Reality Bites) exhibits in this occasionally funny, sometimes grim movie. [14 June 1996, p.3E]

The Arrival is no Close Encounters of the Third Kind, but it does provide a solid second choice at the multiplex. [31 May 1996, p.5E]

The dragon is a wimp. The knight is a geek. The king is a jerk. And, unless you're 12 or younger, the story is a bore. [31 May 1996, p.3E]

Young kids will like this movie but pre-teens and older will recognize it as a Free Willy ripoff. [17 May 1996, p.3E]

There are a few good jabs at fame, advertising and sexuality along the way. But don't worry, nothing gets too serious in this silly, on-target movie. [15 Apr 1996, p.5D]