As much a memorial as it is a docudrama and as such it will interest educators and students, and make for sober television. It's a pity, though, that more of an attempt wasn't made to understand the killer and explain such things as why no one apparently thought to phone for help or hit the fire alarm.

Every scene is on the prowl for laughs at the expense of the inherent drama in the lives of its colorful characters.

With its bittersweet outcome, this is a tremendously moving story, strong in social commitment and deftly woven out of years of footage.

The millions of man hours put into producing this techno shock and awe must be staggering. Everyone got his job done, but somewhere along the way, the movie got lost.

If the lighter scenes sometimes lean toward sitcom cuteness, Jacobs has a sufficiently deft touch to get away with it. The territory often seems closest to that of NBC's unjustly short-lived "Freaks and Geeks," which is by no means a bad place to be.

Tomnay skillfully shifts the film's initial tone from suspense to dark comedy so that the transition never feels forced.

A worthy history lesson on the founding of the Chinese Communist Party with only partially entertaining aspects.

The picture's quiet performances and occasionally surprising moments take it just far enough off the beaten path to make it more than a transparently formulaic feel-good story.

The loggerhead turtle's journey is indeed incredible. But you would rather the narration, delivered intelligently by Miranda Richardson, didn't feel a need to remind you of this fact so frequently.

Manages to be simultaneously offensive and bland.

"Just to document yourself being bored is very boring," Enci says at one point. It's one moment of fiction here that rings all too true.

First-time writer-director Robert Persons' documentary on the Deep South introduces a new filmmaker with a distinctive sensibility.

As entertaining as any showbiz documentary in recent memory.

Cooler cars and more action follow Lightning and Mater as they mix it up with spies and Formula 1 racers in yet another Pixar winner.

By keeping things simple and understated, director Chris Weitz and screenwriter Eric Eason have crafted a little gem where humanity is observed with compassion, not condescension.

Curry and co-editor Matthew Hamachek assemble the wide-ranging material into an informative, compelling story line, although details about McGowan's upbringing and early years in the environmental movement slow the narrative down and some of the footage of McGowan puttering around his sister's apartment proves too mundane to hold much interest.

For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.

The film's inability to illuminate the finer points of the rigid form, to define what separates the great from the good, proves frustrating for the outsider.

The result is a stylishly executed but punishing ultra-realistic thriller that might be classified as family torture porn.

The six penguins cast in this amiable family comedy steal the movie -- along with any fish they can find -- although the film's star, Jim Carrey, does manage to hold his own. Barely.

Serves up all the requisite elements with enough self-deprecating humor to suggest it doesn't take itself too seriously.

There's just not enough going on behind actor Freddie Highmore's eyes to convince us this kid's existential angst is real.

Camera stays very, very close to faces, emphasizing their humanity, and by the end of the film you feel you know something about these women.

A quietly captivating portrait of an unlikely character, Buck is as modest as its subject and wins viewers over just as easily.

The movie is fast, funny and light on its feet, dipping less into politics or religion than into cultural quirks and characteristics.

The sort of sweeping romantic saga rarely attempted on our shores these days, Bride Flight should well please art house audiences, especially of older females, starved for this sort of old-fashioned fare.

The project suffers badly from being largely improvised as the pair fall back on familiar impressions and old jokes. Lazy and indulgent, it smacks of being what the British call a "jolly," that is a freebie with no obligation to turn in work afterward.

Driven by its charismatic upstart gangster protagonist Riva, the film is one joyride that knows it will careen into a spectacular crash. Djo Tunda wa Munga captures the particular vibe released by this mixture of carpe diem and self-destructive instinct.