The writer-director's inquiry into this tragedy makes for a moving and intelligent film, but the dark story never feels fully realized.

A little more "Grifters" would have gone far here. Not toward making the film palatable for the mainstream, perhaps, but at least toward selling its neo-noir story to an audience already inclined toward such seedy material.

Snowboarders are given their Dew in this nicely shot but lengthy exercise in corporate branding.

Aniston gets marooned here: Her comic instincts are muted by all the identity angst, yet there isn't sufficient dramatic material into which she can sink her teeth. Costner strolls through this role with disarming ease.

While it aspires to draw the same audiences who admired "Crouching Tiger, Hidden Dragon" and "Hero," The Promise is but a pale imitation of those landmark films.

Queen Latifah finally gets a vehicle that gives her formidable talents and expansive spirit plenty of blooming room.

A reasonably amusing effort that manages to poke fun at Brooks' neuroses and governmental blundering with equal skill.

Colorful, noisy and brimming with special effects, the picture may please young audiences simply looking for loud action, but its corny storyline and brittle lack of warmth may discourage both parents and children.

A pleasant if pedestrian British romantic comedy.

Stylish and well-observed while ultimately not adding up to very much.

The plot's pretty lame, the dialogue is downright hokey, and the characters are a bore, but somehow Final Destination 3 (an oxymoron if there ever was one) still delivers a certain degree of over-the-top amusement.

The amount of enjoyment one gets out of the Harrison Ford crime-action thriller Firewall depends on one's tolerance for watching thugs terrify an innocent family for most of the movie.

There also are hints of Doug Liman and Tony Scott to be found in this hopped-up, bullet-riddled crime thriller, but while certain sequences pack an admitted visceral kick, the prevailing effect is one of utter overkill.

An audacious, highly contemporary psychological thriller, Sorry,Haters is the kind of audience provoker certain to elicit at least as many haters as admirers.

This quirky documentary about a group of American hairdressers who establish exactly that shows that the power of hair salons should never be underestimated.

Several good ideas for a movie rumble around inside ATL, but they never coalesce.

Awesome will please fans of the band, but expect little crossover to nonfans. No new ground is broken here. From a cinematic point of view, Awesome represents simply a monumental postproduction salvaging effort.

Will intrigue art house audiences unfamiliar with modern Chinese history. But sinophiles and followers of Chinese cinema will be shocked by the lack of historical detail and context.

Things hold together longer than they would have without Banderas' commanding, committed performance.

A slick enough thriller about a presidential assassination attempt. It is also a rather mechanical, soulless affair that avoids politics or anything else that might clearly define who these characters are and why we should care.

While Gretchen Mol delivers a delightfully exuberant lead performance, the film itself seldom goes beyond skin deep.

Spends an inordinate amount of time ogling the tight, lithe bodies of its young female characters. Thus, what might have appealed only to teen girls might well have crossover appeal to leering young boys as well.

A handsome production but one that struggles to integrate its various elements -- cabaret-society glamour, intellectual fervor, family drama, impossible romance and droll humor.

Neither as breezy nor as edgy as it pretends to be.

Has the feel of a contemporary screwball romance, if not the crackling one-liners of classic screwball. But Lindsay Lohan and Chris Pine make a charming star-crossed couple, and tweens and teens will find enough plot reversals to keep them hooked.

Lemming does possess a mordant humor as it watches characters spin out of control. But the payoff is slight.

The big shave is the starting point for a clever, if somewhat too clever, film from French critic, novelist and documentarian Emmanuel Carrere. La Moustache could be clipped down to Franz Kafka-meets-Jerry Seinfeld, where a whole slew of absurd petite calamities befall our everyday hero, triggered by his trim.

This musical documentary likely will find its major audience in Germany, where the immigrant-minority Turk citizenry will take to its array of sounds, smears and social commentary as cultural nourishment.