Only one of the three episodes of the anthology film Eros delivers on the title's promise.

An experimental, transgressive work that pretty much fails on every level, A Hole in My Heart, depicting the efforts of a trio of amateur porn filmmakers, eventually will be considered a minor footnote to a talented director's career. In the meantime, it's the audience members that will have to suffer.

Voices in Wartime is a stirring testament to the search for meaning.

An elongated, rather aimless portrait that doesn't fully convey the essence of its titular subject.

Eye-popping yet ultimately thin and shallow as a page in a graphic novel.

It's an adrenaline rush of a film.

Full of insights on love and sex -- which will have more resonance for lesbians but pack a universal punch.

Grungy and uneven, but it has a rollicking pace and clearly intends to be good fun so that audiences may overlook its unsteady rhythms, pretensions and inconsistencies and take it for the fast and very furious ride it wants to be.

Plays like a pilot for a TV sitcom. It sets up enough story threads for an entire season yet nothing much actually happens during the 105-minute running time.

Odessa ... Odessa! could use a little more narrative substance to augment its haunting imagery but is ultimately a memorable portrait of cultural dislocation.

Packs plenty of crowd-pleasing appeal.

Shaky story and predictable developments make this an off-key ballad.

Splashed and accessorized with brainy nonsense, "D.E.B.S." is a "H.O.O.T."

Highly entertaining and frequently fascinating.

A shiver of cosmic comedy runs through the film's tragic turns.

Even as agile a performer as Sandra Bullock seems to be straining here amid the repetitive jokes and muddled girl-power message.

An insightful and affectionate glimpse into the behind-the-scenes struggles of modern-day winemaking.

The Disney picture should handily score a direct hit to its targeted young female demographic as well as striking a chord with their big sisters, moms and aunts.

While nearly every shock comes at predictable moments, there is genuine ingenuity behind many, and the movie is surprisingly fresh for one made by a guy on his third go-round with the same material.

Woody's back on solid ground with his first memorable pic of the new millennium.

The brutality of the fights and Schizo's growing ability to outfox his enemies make for a taut and exciting little picture.

It's a roller-coaster action film that thunders along with top-notch set pieces and studiously researched period settings. The only letdown is that the focus on action drowns out any character development.

A full-flavored, absorbing tragedy.

If Hostage looks a lot like a state-of-the-art French "policier" minus the pesky subtitles, the effect is purely intentional.

If sheer cleverness were everything, Robots would be the best computer-animated cartoon yet…Yet, unlike the very best CG animation, Robots doesn't quite connect with the emotions and humor for which one yearns in cartoons.

Allen turns the character into a tour de force that unleashes an unexpected comedy about compassion and self-loathing.

By avoiding sentimentality, Millions emerges as a simple tale told with sympathy for a child's point of view.

The charisma and hard work by his two leads allows Boorman to succeed beyond all expectations.

The decidedly irreverent nature of much of the proceedings will be a turnoff to some viewers, a tonic to others.

Be Cool is not really cool as "Get Shorty" was, but it's entertaining, a frivolous cocktail rather than a vintage wine.

Admittedly, The Jacket is not likely to be everyone's cup of tea, but filmmaker John Maybury has forged a mesmerizing mindblower.

Vin Diesel is out of his element in this lame family comedy.

The movie is filled with small moments of tenderness, insight and considerable wisdom.

A lack of artful filmmaking doesn't detract from the dramatic impact of this fly-on-the-wall, cinema verite documentary.

Well-meaning but implausible story.

There is little suspense, however, and while all the attention on the small details of their lives is laudable, it isn't very interesting.

Lo Cascio and Boni inhabit their roles with keen intellectual and emotional vigor.

Cursed, a modern-day werewolf tale that fails to provide either Craven's trademark chills or Williamson's trademark satirical wit, is a distinctly subpar film that, but for the current boxoffice streak enjoyed by such formulaic genre entries, deserved to go direct to video.

In an awkward split-personality way, it works some of the time.

A winningly restrained lead performance by Tommy Lee Jones, who also exec produced, isn't enough to put the film on the boxoffice scoreboard.

Accomplished and affecting art house fare.

A diverting blend of "Rear Window"-style suspense and autumnal romance. While the film is ultimately unable to fully succeed on either front, it offers many pleasures along the way.

The director's split-screen effects and hand-held digital camerawork go from being innovative to repetitive to irritating in a Santa Cruz minute.

Heart-wrenching as well as spirit-raising.

Can't decide what it wants to be when it grows up.

An engrossing mix of atmospheric gothic horror and smart sci-fi that's cemented by intriguing mythology, terrific visual effects, a dry sense of humor and an ideally cast Keanu Reeves.

Loud, mean-spirited and generally obnoxious, Son of the Mask makes the boisterous 1994 original look downright demure and refined.

Macpherson keep things creepy and mystifying. But that damn videotape takes the edge off the mood both visually and dramatically.

The filmmaker's attempt to explore the outer boundaries of erotic and violent obsession are undone by the murkiness of the execution, and only the highly committed and forceful performances by the two leads give the aptly titled Bad Guy any distinction.

This tale of the theater could have used more time on the road.

One of the best war movies ever made, Downfall is a powerful and artistically masterful re-creation of the last days of the Third Reich.

Sub-par video camerawork and editing make the film a trying and tedious experience, despite the engaging personality and impressive physicality of its star.

A quietly celebratory film about music and human kindness.

Although Cinevardaphoto is hardly a major work, it does represent the latest (and earlier) chapters in the career of a fascinating filmmaker.

An effective martial arts film destined to leave mouths agape.

Like an Elvis Presley musical from the '60s, filled with shiny bright colors, bouncy music and happy, smiling, pretty people.

An unwieldy, excessively talky affair, unintentionally exhibiting all the clunky stops and starts and self-conscious ramblings of a particularly awkward first date.

Provocative and perceptive.

Modest comedy-drama.

Genuinely sweet, beautifully constructed documentary.

It's a charming-looking, tenderly told story about friendship and diversity.

Zlah H. Hamzeh's documentary is a powerful and timely portrait of the tensions that can be generated by immigration situations, especially in a post-Sept. 11 world.

It suffers from a lack of genuine chills or suspense that renders its slight virtues rather moot.

Familiar but never overly broad, this well-cast, crowd-pleasing comedy benefits from a low-key emphasis on character over high jinks.

It's a beautifully modulated performance in a nicely crafted, quietly unassuming character study by Vancouver-based writer-director Carl Bessai.

Provocative without being especially thoughtful or credible, Harry and Max registers as a severe disappointment coming from this talented filmmaker.

The film fittingly embraces the elements of camp and kitsch that played such a major role in defining the Nomi persona.

The kind of inspirational movie that actually earns its crowd-rousing response as opposed to merely pushing the same old, emotion-coaxing buttons.

Without them (Geoffrey Rush and Judy Davis), the melodramatic chronicle of real-life swimmer Tony Fingleton's formative years would have very little going for it.

The two main characters are both so funny, human and touching that Sunset Story ultimately possesses an emotional quality missing from many similarly themed efforts.

A curious film with real heart but questionable technique. This art house fodder is just quirky and fresh enough to catch on with audiences.

The characters are so over-the-top with emotional pain -- that they are hardly credible as characters.

Director-screenwriter Kuryla displays some talent and an audaciously daring sensibility but ultimately fails to display the assured cinematic style that would make the unsavory proceedings more palatable.

Ultimately Fear X feels more like an intellectual exercise than a convincing drama.

Mainly notable for its exoticism and gorgeous scenery.

One of those rare instances of a movie being so bad ... it's still really bad.

There are twist endings and there are twist endings -- and then there is the logic-strangling, complete cheat of a reveal that takes place in the final 10 minutes of Hide and Seek. It's so absolutely preposterous that it stops the film cold and draws a collective "Aw c'mon!"

A visually enthralling undersea travelogue.

The sort of soft-core, erotic thriller that would benefit from a lot more trash and a lot more sex.

The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.

Runs 96 minutes but feels like so much more. There is only one gag.

Ekachai's film takes a more compassionate view of its subject and boasts a dynamic performance by real-life kickboxer Asanee Suwan.

With some excellent staging, fine cinematography and first-rate acting, the film largely overcomes the awe it demonstrates for its principal character and succeeds in creating a mystery where perhaps there is none.

The excellent film combines a wealth of archival material with the reminiscences of an unforgettable group of octogenarian women who were champion swimmers when Hitler annexed Austria in 1938.

The 1976 John Carpenter original has been reworked enough to give the urban thriller a distinct flavor of its own, and stars Ethan Hawke and Laurence Fishburne provide enough gravitas to keep things involving.

Packs a quiet wallop.

Should be mandatory viewing for those interested in the dominant intersection between religion and politics.

Thanks mainly to his (Jackson) considerable presence, Coach Carter works more effectively than expected.

Along comes Elektra to effectively lower the bar for Marvel Comics page-to-screen transitions.

At best, Racing Stripes should play nicely to youngsters with the cutoff for enjoyment extending no further than midteens.

An appealing lead performance from its leading man and a wonderfully sentimental, if overly familiar, story line are the chief virtues of this French drama, a huge success in its native country.

The film has enough originality to interest demanding fans of the genre.

As an introduction to this mind-spinning festival, the film gets the job done.

Geoffrey Sax, a British television director making his theatrical debut, lavishes enough craft on the paranormal thriller to send more than a few chills down the spine.

Offers proof that the Korean animation industry is poised for the big leagues.

Captivating drama delivers literary flair and Louisiana music and great roles for a grizzled John Travolta and lovely Scarlett Johansson.

First-time director Niels Mueller and his co-screenwriter Kevin Kennedy depict Sam's disintegration expertly and they have fashioned a well-made picture with much to like.

Pacino gives a keenly measured performance, leading an excellent British cast through their paces in a richly colorful production that should please selective audiences and adds to the list of major film adaptations of Shakespeare's work.