The movie displays an almost preternatural disregard for women's feelings — call it Pygmalion, with a heavy accent on the first syllable — but the comedy is so slickly delivered that audiences may be content with chuckling over its polished surface charms.

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.

This week's campaign commercial, er, political documentary, is a portrait of Democratic candidate Sen. John Kerry's service in Vietnam.

An action romp with heart. If that heart is somewhat misguided, it's hard to deny the family-friendly thrills and spills along the way.

Eventually gets so bogged down in its own quirkiness that its humanistic message gets lost.

It ultimately lacks the singularity to make it stand out among the glut of similarly themed entries.

Unconvincing melodrama.

This directorial debut from C. Jay Cox is a sometimes comic melodrama.

Jamie Foxx finds his funny bone is firmly intact in the effervescent, urban-flavored romantic comedy Breakin' all the Rules.

The result is not the train wreck one might anticipate from surfing the Net. The catfights, overacting and Berry's swagger in a skimpy, tight, leather outfit that would be right at home at a Hookers Ball make for campy fun.

Outfoxed would have benefited from a greater exploration of exactly why Fox News has become so popular and so trusted by its viewers.

The Coen brothers had a golden opportunity to make a darkly humorous, deliciously clever battle of the sexes, and they let it slip through their fingers. Instead, the duo... settled for a broad farce that is long on manic, cartoonish behavior and short on intelligence and wit.

Rote characterizations and a trite, even condescending, attitude toward that era's misguided mores robs the film of the satiric punch Todd Haynes delivered in "Far From Heaven."

Glorious so-bad-it's-good entertainment.

A well-intentioned but unconvincing fable about a young boy struggling to overcome his fear of mortality.

Emerges as a frustrating cop-out.

A confusing blend of noir mystery and screwball comedy, Testosterone never manages to reconcile its conflicting tones and ultimately lacks the wit necessary to fuel its outlandish plotting.

Macy once again brightens an otherwise mundane character.

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.

Things spin swiftly out of control with uneven acting and misfired physical gags.

What captures the audience's attention is Ardent's mesmerizing performance.

The provocative issues of Silent Waters are unfortunately undercut by schematic plotting and one-dimensional characterizations, but the forcefulness of its message makes it a rewarding cinematic experience.

The film should please his (Sokurov's) fans even while proving a frustrating, tedious experience for most art house audiences.

The film doesn't manage to achieve for hip-hop what the great rock concert films of the past have done for their musical genre.

The film's real failure is that neither the story nor the characters capture the zeitgeist that Bertolucci theoretically set out to celebrate.

Despite its lineage and some impressive special effects, Contact is a disappointingly earthbound production, weighed down by the ballast of talking-heads dramaturgy and bloated storytelling.

This documentary about Howard Zinn provides an effective if not necessarily comprehensive or objective portrait of the esteemed historian and activist.

An often funny if slight satire that's never as edgy as it thinks it is or as sharply focused as it needs to be.