Call this one "Brother Act." Instead of Whoopi Goldberg's Reno lounge singer in "Sister Act," Preaching to the Choir has a hip-hop star hiding out from a gangsta record producer in his estranged brother-minister's Harlem church.

The film is stylish as hell with sharp dialogue, a tongue-in-cheek plot and visual and editing razzle-dazzle.

You have to credit the filmmakers for at least acknowledging their level of dreck during the final credits, when Lovitz rhetorically asks, "This was a complete waste of time, wasn't it?"

The writing is rudimentary and the direction often awkward, but Mo'Nique would confound a veteran director.

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

A pitch-perfect ensemble comedy that burrows deep into the mind-set of white, upper middle-class Angelenos, anxious to strike the right balance among career, family, love life and money but never quite pulling it off.

The kind of drama that British television used to do so well, a well-constructed, smartly observed story of ordinary people learning how to communicate with one another.

An indie ethnic comedy clearly hoping to become the Jewish equivalent to "My Big Fat Greek Wedding," this well-timed offering, which arrived in time for Passover, is unlikely to have that sort of crossover appeal, or any appeal at all, for that matter.

A road picture mired by unsteady camera work, lackadaisical pacing and cumbersome speechmaking, Free Zone is an excruciating cinematic trek. Israeli director Amos Gitai's narrative, both visually and conversationally, is a disappointing dud.

Narrated by Troy Garity, whose mother, Jane Fonda, candidly discusses her involvement in the movement that seems to have faded from the collective conscience in the intervening years, the film does a commendable job in providing enlightenment.

Finally, there is an answer to the old question, "What's more boring than watching golf on television?" As the new docu 95 Miles to Go reveals, watching Ray Romano watching golf on television is much more boring.

Morrissey gives a stiff, awkward performance, while Stone moves dangerously close to overplaying the femme fatale. There is little if any intrigue in the story or the characters. Even the murders don't even seem to matter much.

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

Raucously fun, fluid follow-up with ecological message.

Gunn maintains the ideal glib pitch for most of the picture, flirting with camp but never hanging around it long enough to water down the squirm-inducing stuff.

The mean streets don't get any nastier than the high school parking lots in this cool-crafted mystery.

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.

Ultimately Adam & Steve mainly goes to prove that indie gay romantic comedies can be just as witless, vulgar and over the top as their straight, major studio counterparts.

Whatever one's opinion of Johnston's art, this is documentary filmmaking at its finest.

The film is an elegiac journey to a sweeter, more civilized place in the heart. Predictable and decidedly old-fashioned in its sensibility, the film is likely to win over audiences if not critics.

Stalwart Iranian actor Ali Nasirian plays Nemat with a thoughtful hubris, uniting the various plot strands by force of character.

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.

Visual artist and filmmaker Matthew Barney's follow-up to his acclaimed "Cremaster" film series continues this provocateur's penchant for outrageous imagery and numbing non-narratives.

This is the mother lode all action/suspense directors search for and Lee, who usually doesn't work in that genre, has hit it.

A passable horror-thriller for the young crowd, assuming a movie can lure them away from PlayStations.

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

Under Buscemi's overall smart direction, the acting is terrific.

The film clearly wishes to explore the topic of children having children, but it only inspires a great desire to smack them both.