The film never is boring, but it's never engaging, either, because its heroes hit every target in sight, while the villains, despite holstering much greater weaponry, never hit anybody. So forget about suspense.

A love note to '30s-era burlesque that plays best for those already invested enough in the milieu to hang on every word of aged strippers.

There's no denying that it is often outrageous fun, and the news that Fragasso and Drudi are working on a script for "Troll 2: Part 2" is but the icing on a very nasty cake.

A jaunty, happy-go-lucky adventure that packs a fistful of dynamite in the spectacular showdown.

A well-stirred titillation that will appeal to twentysomething audiences and movie-buff viewers who appreciate the pursued-pursuer, Hitchcockian style of suspenser.

Paper Man is a bad idea, and the film, despite a few brave and good performances, never recovers from awkwardness of its premise.

Adolescent angst is the focus of Accidents Happen, a turgid melodrama based loosely on Brian Carbee's autobiographical book and one-man theater piece.

What "Winged Migration" did for birds, Oceans does for all sorts of strange sea creatures in an ambitious, impressively filmed documentary.

The guy really goes all out in these performances.

But nothing taps his own particular talents to unsettle audiences with truly edgy material. Funeral gets no more edgy than a potty joke and a corpse tumbling out of a coffin. This is nothing more than juvenile slapstick.

Its balancing act between innocence and gore perfectly matches the expectations of genre fans, who should embrace the movie.

What could have been a biting black comedy taking product placement to the logical extreme instead is so obviously predictable that even a savvy cast led by David Duchovny and Demi Moore can't sell it.

Its appeal naturally will be to book-reading audiences who appreciate films with well-written dialogue, a tony cast, lush visuals and the triumph of civilized values.

Hugely entertaining documentary challenges conventional concepts of legitimate art and the creative process.

A slight story with little action, this rueful dissection of male bonding builds to an undeniably emotional last act.

Of the many performers captured by D.P. Turaj Aslani's highly mobile video camera, an unframed woman singer identified as Rana Farhan is a standout.

A riveting Argentine thriller spiked with witty dialogue and poignant love stories.

Comprising seven individual films with a cumulative running time of more than 8 1/2 hours, Have You Heard From Johannesburg (the title comes from a Gil Scott-Heron song) naturally will find a more receptive home on television and home video, but New York's Film Forum, presenting it in three parts, is to be commended for giving the series its world theatrical premiere.

Writer-director David Kittredge clearly has serious things on his mind about such subjects as voyeurism, the thin line between fantasy and reality, the link between sex and violence, etc., but whatever points he is trying to make are lost in the general muddle.

These talented performers star in two of the wittiest, most sophisticated sitcoms on the air, but for this movie pairing they're stuck with an endlessly silly plot line and overblown physical mayhem that is instantly forgettable. The fact that they make it so funny nonetheless is a testament to their abilities.

One hates to say it, but after this and "Black Snake Moan," it might be time for the talented actress (Ricci) to keep her clothes on.

The intensity of observation reminds one of Bergman's "Scenes From a Marriage," though of course played in a much more benign key. For the patient, the deliberate pacing is perfect, as each additional layer is quietly and subtly put in place.

Their heart is in the right place, and their tale is colorful, complete with Indian dancers in ceremonial costumes dancing on a street corner.

A well-made and entertaining descent into a black-comic hell.

A must for Doors fans as the film attempts to disentangle the facts from the myths surrounding the legendary band.

Who Do You Love, directed by Broadway veteran Jerry Zaks, pays attention to the music but to its credit pays even more attention to the actors and story.

This beautifully made film (which won the best director award at last year's Venice Film Festival) is the very definition of an art house movie with limited appeal, but its political import gives it added talking points that will draw attention.

This is an affectionate portrait rather than a meaningful critical analysis.