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.

An eye-opener that handles its themes in a refreshingly nonexploitative manner.

Jackman does everything required of him, and his range is quite admirable, while Weisz, who has nothing to prove, does looking gorgeous very nicely.

The sheer nastiness of the jealous one-upmanship and angry sabotage puts a damper on the yuletide comedy. You're much better off watching a DVD of "Bad Santa."

Unlike the last Scott-Washington matchup, "Man on Fire," Deja Vu boasts a muscular, fast-forward story that won't be overwhelmed by Scott's need for speed in the form of rapid cuts and all that visual fusion that have become his stylistic trademark. Here, the approach is perfectly suited to the picture's time-shifting, multitasking structure.

Sticks to formula but delivers some seriously dumb laughs.

A fanciful wisp of a film that feels slight at times. It's based on the slender novella "Pobby and Dingan," by Ben Rice, who also co-wrote the screenplay. Yet it winds up making some keen observations on the power of imagination.

If you liked the play and the compelling ideas Bennett kicks around, the movie makes for an intellectually invigorating couple of hours.

What a relief to escape the series' increasing bondage to high-tech gimmicks in favor of intrigue and suspense featuring richly nuanced characters and women who think the body's sexiest organ is the brain.