There is certainly talent on display here, but their work fails to come together into a coherent entertainment.

Cross "Body Heat" with "No Way Out" and you wind up with Out of Time, a slick crime melodrama with more style than substance.

It provides both deep musical pleasures and a touching farewell to the former Beatle.

Wonderfully understated, Station Agent is a masterful film and a bracing movie experience. Its power is in large part because of the performers, most prominently Dinklage as the solitary dwarf.

There seem to be some impressive performances here, though it's not always easy to tell because director James Cox is always feverishly cutting away to something or other.

The film hits another comic mother lode in the byplay between Black and Cusack.

The promise of a stylish psychological thriller is squandered in Camera Obscura, which lapses into an ordinary, wearying tale of a nice guy in over his head with ruthless criminals.

The direction is as flat as the script is thin, forcing actors to stumble through roles that make little sense. Costumes and sets border on the grotesque. Mehta is a fine enough filmmaker that this one can be written off as an aberration. Sometimes East and West really aren't meant to meet.

Successfully surmounts nearly all the challenges of making a film about a young person dying. Which means the writer-director avoids pitfalls. It is not cloying or sentimental or falsely optimistic. It avoids bathos and exaggerated emotions. Instead, the film affirms life in surprising and gratifying ways.

While the story line often comes uncomfortably close to melodrama, Prey for Rock and Roll"... is an entertaining and sometimes even moving portrait of a veteran band that never quite hits the big time.

More demanding viewers hoping for the cruel wit of DeVito's "Throw Momma From the Train" or "The War of the Roses" will likely be disappointed by its lack of comic bite.

Those not in the smackdown frame of mind will find an overabundance of head-butts, body slams and pounding aural effects -- this is a definite contender for loudest film of the year -- but also will discover instances of innovative, spectacular stuntwork and, though the comic interplay often falls flat, a story with heart.

All elements click in "Sun," a shimmering, deeply felt film.

A zinger-filled crowd-pleaser that open-minded Elvis fans (but by no means all) will have fun with.

The film ambles along at a relaxed pace, well depicting the uneasy relationships among the soldiers and the mixture of boredom and danger that marks their daily existence.

It's discouraging to witness a filmmaker who clearly yearns for the indie world yield to the temptations of mindless movie manufacturing. At least Figgis made it as soulless as possible.

Ethnic and sexual stereotypes receive equally clumsy treatment in this Canadian comedy.

The story has little resonance or depth. The R-rated movie comes off as exploitative and derivative.

Casa feels like a miss. The digging into each of these women's lives stays shallow and seldom uncovers anything unexpected.

Awash in nostalgia, "Lions" combines a gentle coming-of-age story with swashbuckling fantasy. While it lacks a necessary tension in its establishing scenes and might be too soft for those who prefer grittier fare.

This culture-clash romantic comedy, scripted by Elizabeth Hunter and Saladin K. Patterson, goes exactly where you'd expect, but helmer Lynn, a comedy vet, gets it there with such infectious energy that you don't much mind the story's predictability.

Beckinsale delivers even if Underworld doesn't quite manage to follow through on its initial promise.

Having tackled treacherous terrain to film Hayata's story, the filmmakers miss the opportunity to deliver a scorching testament to the dangers and passions that drive the saga.

The lack of a meaningful story would be easier to take if the dialogue was wittier or the characterizations were deeper, but the proceedings are instead surprisingly bland considering the outrageousness of many of the situations.

The surprising lack of humor in So Close, and long, trying stretches between combat sequences aren't likely to attract new converts to the genre.

The movie so successfully raises the emotional and psychological stakes in the first half that not all audiences may like the film's reversion to con-artist form in the second. The con itself is preposterous and full of holes when we think back after the movie.

Maybe Roth was too busy paying tribute to all his childhood influences to take the necessary steps, but even in this uneasy era of SARS and other airborne horrors, his flesh-eating virus movie never convincingly gets under the skin.

The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood.

Affectionately conceived, imaginatively staged and highly entertaining.

The filmmaker presents a portrait of the emotional and physical effects of aging and maturity that is occasionally poignant but not particularly deep.

For the most part, the acting is shrill and cartoonish. Indeed, most of the actors appear to be, in the finest desi filmmaking tradition, from the filmmakers' close circle of friends and family.

The episodes are uninteresting and the characters one-dimensional. Unlike the multicharacter tapestries of such filmmakers as Robert Altman and Paul Thomas Anderson, the pretentious whole here is ultimately less than the sum of the parts.

It's no wonder that the film's strongest sequence, visually and dramatically, involves none of these characters. It's a flashback to the construction of St. Peter's that explains the origins of Eden's centuries-long reign on his dark throne.

In the midst of this didactic, self-conscious movie about a high school shooting comes an extraordinary and intense performance by a young actress named Busy Philipps, which elevates the whole picture.

Generally succeeds -- in hit-and-miss fashion -- at bridging the gap between unlikable jerk and misunderstood good guy, though it's still something of a leap to leading-man territory.

The film ultimately fails to satisfy because of the limitations of both the format and subject.

Although the film loses its way in the late going with a preponderance of melodramatic elements that dilute the more compelling social message, for much of its running time it packs a visceral punch, thanks in large part to a strong cast headed by LisaRaye, N'Bushe Wright and Mos Def.

A big fluff ball of a sex farce that's so light and flimsy it's a wonder they were able to thread it through the projector.

The problem once again remains an inability to sustain those de rigueur elements of tension and suspense much beyond those first 20 minutes.

Not much to laugh at.

With its compelling central character and colorful milieu, the film comes across as a combination of Greek tragedy and "Behind the Music."

While the film, directed by Hany Abu-Assad, provides a vivid portrait of the landscape, its dramatic aspects are less impressive, with the contrived plot and paper-thin characterizations basically serving to provide a framework for its impressionistic portrait.

The clumsy and cliched approach by writer-director Bala Rajashekaruni robs the movie of any dramatic punch.

Another heartfelt coming-of-age story that plays much more like a television movie than a theatrical feature.

Director Benjamin doesn't really handle the material with the outrageous excess it deserves, with the result that the proceedings seem far too mild.

Willfully provocative, much like a small child performing outrageous acts just to get some attention.

An engaging, sympathetic portrait of junior high girls who have grown up too fast and way too little. Without being preachy, it's also a cogent, terrifying tale of the lack of supervision many teens face and the utter inability of many parents to not only raise kids but also to direct their own lives.

Ultimately, the film is as numbingly boring as, well, a lengthy train ride during which there's nothing to do but look out the window.

A perky comedy aimed at young women that gets the job done with crisp efficiency.

The cheap and cheerful picture has its humorous moments thanks to Steven P. Baer's broad but buoyant script and a supporting cast of character actors who know how to hit a good line home.

Witless, excessive and ultimately boring gore-a-thon.

It's an extraordinary film.

In spite of its portentousness, the film does engage one.

What the problem comes down to is a group of filmmakers making misguided choices in an effort to broaden the movie's demographics beyond those who attend X Games.

Utterly charming and not without those subtle insights into character and culture that mark their (Merchant Ivory) best films.

Original and thrilling martial-arts choreography, a lean, hard-driving story and solemn atmosphere make The Princess Blade -- a futuristic tale -- stand way above the pack.

Not only set the high standards for surfing documentaries but brought the sport much greater respect and interest from around the globe.

Noisy, standard-issue cop actioner.

The new "Freaky" plays the obvious gags in ways both surprising and imaginative.

Meant to be purposefully banal. Unfortunately, there's a thin line between purposefully banal and simply banal, and Ben Coccio's debut feature too often crosses it.

Style takes precedence over content in this fourth installment of Strand Releasing's popular series of gay-themed short-film compilations.

The familiar formula feels significantly watered-down the third time around.

The film lacks a controlling point of view to guide an audience through so improbable a tale. Nothing in the movie is funny -- aside from giggles provoked by misfired jokes -- or romantic or dramatic.

This 3-D Imax film puts you at eye level with awesome creatures that look like alien beasts from deep space.

Enough goodwill has been built up in the early sections that most viewers will not take offense when the movie abandons its plot and characters.

Actors dominate with finely nuanced performances where every scene feels dramatically right.

Bears a wealth of imaginative riches and a signature mix of outre personalities and gadgets.

A fresh, young energetic cast is this wobbly musical comedy's main claim to "Fame."

Achieves a rare depth and intimacy in its portrait of dreams fulfilled and shattered.

However masterful, the first-rate stunt work, effects, action cinematography and cutting (by no less than three editors) lose impact through sheer repetition.

The performances by the highly attractive cast are terrific all around, and the directors have well managed to convey the literally and metaphorically sultry aspects of a hot summer day.

Nothing anchors the lighter-than-air story as it drifts away under the direction of Stephen Norrington ("Blade") into an FX stratosphere where wit, character and vigorous storytelling cease to matter.

An intensely realized, beautifully shot drama.

The large cast, costumed and made up as filthy scalawags and sinister buccaneers, gives tremendous energy to every scene.

Ultimately, Swimming Pool belongs to Ozon, and while incorporating a carefully measured, quietly menacing style that summons up vintage Hitchcock and Chabrol, he has made it unmistakably -- and entertainingly -- his very own.

Lacks the wonder, surprises and supercool attitude Cameron achieved. "T3" is no weak sister, though. With Arnold Schwarzenegger back as the iconic title character and an often witty, fast-paced script by John Brancato, Michael Ferris and Tedi Sarafian, audiences worldwide will embrace the new film.

The hundreds of animation artists on this three-year project made enormous contributions to the final film. There is not an off-kilter moment nor awkward effect in the entire movie.

Legally bland.

What fans of the original movie, "Charlie's Angels," which was fun and good-natured, will make of this sloppy mess is hard to guess.

Hits on all cylinders -- a smart blend of acting, direction, editing, design, costumes and effects.

The frenetic pace detracts from the film's wealth of personalities and vivid visuals. There's the unshakable sense that Rugrats Go Wild is trying too hard to please kids and adults and as a result falls somewhat short for both sets of viewers.

The film boasts a terrific newcomer in the lead role, exquisite widescreen photography and a powerful sense of place.

Less giddy and more cohesive than the original, the film doesn't waste time, plunging almost directly into a spectacular heist.

Utterly compelling account of a true-life criminal investigation where "truth" can never be pinned down.

An exhilarating fish story in the perfectly cast comic adventure.

Although the film's jabs at TV journalism are nothing new, Carrey brings to the material the sense of someone who's too smart for his work yet loves it -- the essence, perhaps, of being a ham.

Veers wildly from slapstick comedy to melodrama, but writer-director Rahul Bose, making his feature debut, handles the transitions more effectively than is usual, and the film is generally entertaining even when it's being utterly ridiculous (or maybe especially when it's so).

Unlike "The Matrix," all fights and stunts -- including a 14-minute freeway chase -- have a disturbing tendency to repeat intricately choreographed action. Thus, computer technology and overkill supplant the ingenuity of the original film's action.

In his feature debut, writer-director Eric Byler demonstrates a refreshing trust in his material and his audience, crafting a compact, intriguing drama from understated performances and a subtle visual sensibility.

The 3-D footage of Titanic does speak volumes, and sometimes the sheer fussiness of all the ghosts and archival images get in the way. As huge as the Imax screen is, when six different images vie for one's attention, it looks cluttered.

It contains terrific sequences, and Nicholson and Sandler team up better than one might expect. But the film plays like two characters in search of a story and runs a good 15 minutes too long.

A flawlessly executed character study.

The Hours makes for a fascinating and ultimately successful stunt in its cross-cutting among the decades.

Marshall, a veteran stage director/choreographer who proved his cinematic skills with his television adaptations of the musicals Cinderella and Annie, does a superb job here, beautifully contrasting the gritty storyline with the hard-edged musical numbers.

Catch Me If You Can represents a distinct change of pace for director Steven Spielberg. This is a lighter movie than he has made in a long while, and you sense his relief that nothing much is at stake.

What strikes one more than anything in Towers is the material's dreamlike quality.

While the supporting players fall victim to their broadly conceived roles, Baio and Minter underplay charmingly, and actually manage to make us care about their characters despite their less than credible aspects.

One's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.