This is a performance without the histrionics and emotional outbursts that accompany most portrayals of addiction. This feels closer to the truth.

The docu is not visually innovative, but the content more than makes up for what it lacks in style.

The Matador gets a 151-proof tequila shot of sharp comedy from the droll byplay between Pierce Brosnan and Greg Kinnear.

Switching into a dramatic gear, Woody Allen surprises but often struggles in this dark morality tale.

Hopkins' performance flat-out works.

Beautifully acted and filmed, with the Internet imagery rendered in Pixelvision.

With her debut, Xiao Jiang has created the Chinese equivalent of "Cinema Paradiso." The Beijing Film Academy graduate's confident first feature is a lovely, elegant paean to the joy and liberty that films offer as a symbol.

The director has staged the elaborate production in his usual stately but impressive manner, and the production values boast the usual Merchant/Ivory stamp of quality.

This is resolutely a film of the imagination. As with all films in Malick's slim body of work, its imagery, haunting sounds and pastoral mood trump narrative.

Eli Roth turns to modern-day Asian fright filmmakers as inspiration for his latest blood-soaked effort while demonstrating an intriguing, original voice of his own.

Stirring tale of a team whose big win speeds the integration of intercollegiate sports.

Arlyck's artful use of "then and now" images illustrates the relentlessness with which time moves forward. Youth is, indeed, elusive. His seductive film is a retrieval mission and, as such, it is ineffably sad.

Prolific Hong Kong lenser Johnnie To delivers another solid action picture with this latest effort, a cops and robbers yarn with social commentary mixed in along the way.

Long deemed unfilmable, the 18th century novel finds the perfect interpreters in director Michael Winterbottom and actor Steve Coogan.

A keenly observed urban romantic comedy.

Margret and H.A. Rey's mischievous monkey makes his long-threatened leap to the big screen in Curious George, with much of the books' charm respectfully intact.

The film is well worth seeing for its views of the parched wilderness of far-flung Brazil and its talkative depiction of an unlikely friendship.

The film is an atmospheric and complex thriller that, while not quite living up to its thematic ambitions, more than sustains interest along the way.

Although much of the plot defies credulity, Richard Donner directs the odd-couple action drama with a nimble facility that draws viewers in.

A bright and breezy tween fantasy romantic comedy that coasts along on its charming performances and the light comedic touch of first-time feature director Elizabeth Allen.

Our Brand Is Crisis well demonstrates the international efficacy of the methods used to twice elect Bill Clinton. Unlike in "The War Room," the charismatic Carville makes but fleeting appearances in this docu, and it suffers as a result.

A worthy addition to the ever-growing canon of Holocaust-related films.

This remake of the 1977 Wes Craven cult classic is brutally horrific. And that's a compliment.

A fast-moving Walt Disney Co. comedy that manages to sail past many of the cliches usually found in this genre while throwing together a wild story line more apt for a new millennium.

The film is faithful to the book's tone of dark ache and much of its detail and for the most part terrifically cast. But Towne can't overcome an essential challenge of the material: Arturo and Camilla are constructs and ciphers as much as they are vivid characters -- difficult roles, to be sure. Neither the screenplay nor the actors manage to get far under their skin.

Although Evil eventually suffers from its heavy-handed treatment of its subject, it is a well-made and engrossing melodrama.

All the acting is solid including a knock-'em-dead single scene by Annabella Sciorra as Jackie's ex-wife.

The movie is amusing and clever but only skin deep. It lacks the acidity and rage of a satire such as "Network."