John Waters has returned to trashy form with what is unquestionably his most outrageous film since those heady "Pink Flamingos" days.

Sharp, vivacious comedy.

The cast acquits itself well, with the Rock evincing a quiet balance between humor and brawn.

Terrific performances by Anthony LaPaglia, Eric Stoltz and Caroleen Feeney infuse this well-written comic drama with a realistic ease.

A beguiling, multilayered drama.

A clearly partisan effort -- director George Butler is a longtime Kerry friend and supporter -- the film is nonetheless bound to have some political impact, thanks to its powerful depiction of the young Kerry.

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

Fascinating and absorbing tale.

It boasts enough camp, skin and 15th century flashbacks of torment to make it fitting fodder for campus screens.

While the arguments obviously will be digested differently according to the viewer's preconceived notions, the impressive credentials of the witnesses, most of them former insiders rather than mere pontificators, give their arguments an undeniable credibility.

The film will eventually be a must-own video item for theater buffs.

An earnest drama about spiritual redemption that is likely to strike quite a chord with certain audiences.

With charm to spare, Valentin fuses nostalgia and humor in an episodic story whose ultimate focus is the birth of a writer.

The finish, too, is enigmatic, but in the hands of Hodges, with his masterful touch in conveying how deep run the rivers of regret, I'll Sleep When I'm Dead may take its place with "Get Carter" as a classic British gangster film.

Each of the stories, impeccably staged and acted, has just the right length, well befitting the slight aspects of their story lines. Never allowing preciousness or ponderousness to infuse the material, filmmaker Pak demonstrates a real talent for concise storytelling marked by poignancy and humor.

The film also does something quite remarkable for an American film: It makes middle-age love look sexy and hugely satisfying.

Cunningham's 1990 novel makes an assured, if not entirely satisfying, transition to the big screen in this terrifically acted exploration of the bonds that transcend traditional notions of family.

Although most definitely an acquired taste, the David Lynchian Gozu delivers the goods in dripping, gooey gobs.

Should please art house buffs across the board. Connoisseurs of Chinese film will be pleased to discover that Tian's meticulous talent has not withered during his enforced hiatus. Moviegoers who like their visions of China rarefied and past tense will delight in the careful period setting.

This is the kind of film that will leave many audience members groaning with laughter -- and others simply groaning. It's skit/situation comedy that exploits stereotypes with a vengeance and knows no shame in borrowing from much better movies ranging from "Some Like It Hot" to "Tootsie."

Although overlong and diffuse, Oasis, written and directed by Lee Chang-dong, boasts many powerful moments.

A not particularly satisfying ending that involves silly CG effects. On the other hand, the acting is uniformly compelling, the fight sequences are energetic, and, as character drama, the material is especially enthralling.

Quite moving thanks to its gorgeous cinematography and a story that manages to be emotionally resonate despite its familiarity.

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.

Marshall's predilection for romantic fairy tales is much in evidence, though the comedy registers in a lower key than it did in such hits as "Pretty Woman" and "Runaway Bride."

Tells a gripping story that resonates with numerous subtexts.

A challenging, thought-provoking debut that compassionately questions the relevance of celibacy in the Catholic Church.

Both intensely thoughtful and wonderful to look at.