If there is a disappointment, it is this: The anticipation may have exceeded the realization. It's a damn good commercial movie, but it is not the film that will revive the musical or win over the world.

Blanchett gets everything right -- the accent, her German dialogue, the weary sexuality (deliberately reminiscent of Marlene Dietrich) and the amorality her character has embraced.

The endearingly enduring 1952 E.B. White novel about friendship and salvation, has been turned into a beautifully rendered motion picture that's full of warmth, wit and wonder.

There is little complexity in the social, cultural or political shape of this world. So this film, directed by visual effects master Stefen Fangmeier and written by Peter Buchman in a straightforward manner, cannot escape the rote nature of such a fantasy.

This is a slick studio production with a huge movie star and top professionals occupying every production role so that the polish of this well-made film makes even homelessness look neat and tidy.

Timeliness is all very well, but the significant subject matter cries out for a defter directorial touch and a deeper complexity in regard to the characters and performances.

An accomplished and stylistically audacious effort that all too accurately conveys the confusion and mental disarray of its subject's illness, ultimately to its detriment.

The guy knows how to make a heart-pounding movie; he just happens to be a cinematic sadist.

To the unlikely role of a Bogart-esque reluctant hero, Leonardo DiCaprio brings an intensity that compels even when the script falters.

It's formulaic but with a big heart.

A little charm and inventiveness would have gone a long way to tone down some of the picture's more obnoxious impulses.

Like a good pitcher, Trevor Morgan varies his emotions and perfectly grooves his role as the high-school star. Huffing and puffing, Nolte plops around with brilliant finesse, smartly exposing this frustrated old ballplayer's inside strength and fears.

A committed piece of agit-prop, which benefits from the passion of its protagonists. Followers of the band will need no introduction to the subject matter, which is referenced in their musical repertoire. The film also should play well with those interested in liberal causes.

While The Empire in Africa offers a litany of talking heads and shockingly violent images in its exploration of the conflict, it is more confusing and disturbing than enlightening.

Offers a litany of images and sound bites that are all too disturbing. Although Ever Again lacks the dramatic focus that would make it truly distinctive, it offers a timely wake-up call that should be well heeded.

A meticulously observed story about fathers and sons within the Argentine Jewish community...What the film desperately lacks, however, is any meaningful conflict. Thus, there is little story here.

Scott's film chronicling the rise of one of the world's fastest-growing sport is best geared to fans, presenting those of us with merely a casual interest with far too much information and repetitive footage of snowboarders in action.

With strong visuals and even stronger emotions, Rachid Bouchareb's Days of Glory makes a powerful war film about a particularly unique subject.

Starts out dark and challenging then comes to a startlingly satisfying and warmly human conclusion that lingers long after the curtain has come down.

Unfolds in a scrupulously accurate historical adventure story that depicts the world of Jesus' birth with an exciting you-are-there verisimilitude.

So blatantly not funny that it might as well have been called "National Geographic's Van Wilder 2."

Ends up having all the satisfying substance of a supermarket impulse item.

While it provides a sometimes thoughtful examination of modern sociological issues, The Architect unfortunately succumbs to melodrama in its depiction of its troubled characters.

It all begins to fall apart around the midway point, before completely unraveling into a confused, murky mess.

The script is not without some perceptive observations about family dynamics, but the problematic tone keeps getting in the way. A little absurdist levity in these instances always helps to prevent things from becoming too maudlin, but in Stockman's hands, the played-for-laughs elements in this tragicomedy feel forced rather than organic, ultimately creating an emotional disconnect with the viewer.

While Highway Courtesans has many relevant points to make about the subjugation of women in impoverished societies, it lacks the focus and narrative momentum to sustain its admittedly brief running time.

Spice is full of colorful family moments and flavored with observations like the role of spices in provoking wars. Takis Zervoulakos' elegant camerawork serves up painterly, magical shots of condiments, lavish banquets and mysterious spaces.

Even if he's never able to mount a full-scale return to the happy depravity of his youth, Waters is one of bad behavior's most likable champions.