You might call the film "Rear Window Times 100."

No doubt about it, the show's certifiably bizarro, stream-of-consciousness sensibility has made the transition notably intact, which should please its young male fan base.

Nicely balances action and adventure with American Indian wisdom and a modest romance to provide a graphic-comic-book movie experience for males in urban markets.

The star wattage quickly dims in this slick-looking but ringingly hollow affair that starts off generically at best before collapsing into a convoluted heap of shrill screen cliches.

Redline is the cinematic equivalent of a sports car ad in Maxim magazine.

A static and awkward effort that never quite comes to life.

While the duo's crimes were indeed sensational, writer-director Todd Robinson's starry take on the material fails to provide much in the way of a new perspective.

Overall, Year of the Dog evinces an appealing sentimentality without being maudlin or only puppy-dog cute.

The sort of cheesy thriller that would prove mildly diverting on late-night cable, Slow Burn at least features a terrific cast to enliven its familiar elements.

This is a minor film from a master, which is disappointing, but nevertheless it has its charms, most notably in the acting by a cast of stage and screen veterans.

For connoisseurs of stories of show business near-disasters, "Bells" is compelling viewing.

There's plenty to ensure fresh jolts for viewers who know Hitch's tricks inside out, to say nothing of young moviegoers who don't know Grace Kelly from Thelma Ritter.

If you were keeping score, it would be Quentin Tarantino 1, Robert Rodriguez 0.

Entertaining and piquant. The film does possess some of the bittersweet qualities that usually mark Hallstrom's films, but it's generally a tougher, more incisive work that ranks as one of his best.

Overlong and overstuffed with characters and situations, Ping Pong doesn't really succeed on a dramatic level. But there is no denying its skill in rendering its chosen milieu with an intense visual immediacy.

Whether outsiders will find much to appreciate in The TV Set is another question because the film fails to provide the thematic resonance of similarly themed predecessors like the brilliant "Network."

One either likes this sort of thing or not. Even fans might not buy the ending in which more people get wiped out than in Hurricane Katrina.

Tpicture delivers the requisite number of pratfalls, and the genial Ice Cube makes for a credibly hapless everyman, but the comedy still feels a little too safely soft around the edges.

No best in show but a decent family comedy.

It succeeds on almost all fronts. The epic film is a high-octane adventure rooted in fact with a raft of arresting characters, big action sequences and twists and turns galore.

The blissfully silly Blades of Glory is one of those rare comedies that puts a goofy smile on your face with the premise alone -- and keeps it planted there right until its wacky finale.

The most un-Disneylike cartoon yet from Disney animation. The thing is a hellzapoppin' of eccentric characters, zany situations and wacky gizmos, but little effort has gone into making any of this connect with an audience.

Once again Bier demonstrates just how misleading appearances can be, as she artfully removes the veneers concealing the dark truths locked away by her intriguing characters.

Loaded with obtuse symbolism, the film is not only hard to understand, it isn't much fun trying to figure it out.

Although more than a little familiar in its road movie-style romantic banter and bickering, the film is easy to take for a number of reasons, including the witty and frequently caustic dialogue. Modest in its aspirations, "Race You" succeeds by not trying to do too much.

Brilliantly sung by an extremely talented lyric theater company in Cape Town called Dimpho Di Kopane. Whether this all works will be a matter of opinion -- mine is that it does not -- but the experiment is fascinating.

If the movie only lavished as much thought and care on its characters as it does on each intricate set piece, Shooter might have been a classic.

The Hills Have Eyes 2 proves that even grisly, gory violence can be awfully boring.