One terrific love story sandwiched between two mundane ones in this three-part look at love.

An imaginative and original picture turns conventional as it ends.

Audience can certainly find entertainment in this movie, so long as no one takes things too seriously. One suspects, however, that Zaillian and a vast team of producers and executive producers that includes political consultant and pundit James Carville believe they are making a serious commentary on American politics. It comes closer to kitsch.

A decidedly old-fashioned war film that reaches for epic sweep but is often bogged down in cliched drama and two-dimensional characters.

It didn't seem possible, but Johnny Knoxville, Bam Margera, Steve-O, Chris Pontius, Wee Man and company might just have cooked up a sequel that's even wilder, funnier, extra-depraved and more gag-inducing than the seemingly incomparable "Jackass the Movie."

Witty choreography juices the pedestrian plot of Fearless, an earnest and technically accomplished biopic in which action star Jet Li flexes his limited dramatic muscles to portray kung fu master Huo Yuanjia.

Contains no shocks. But it works as a funny and slicker-than-expected parody of the genre.

A fascinating glimpse of kids' role in the evangelical movement's political agenda.

Pitched as "animation for adults," Renaissance will find an audience among those in the 20-35 age group who enjoy graphic novels, but will disappoint anyone hoping for emotional or intellectual sustenance.

An engrossing, low-budget documentary, is a powerful examination of voting rights in America.

A neatly observed take on Manila street life. Pegged to a gay theme, it works best as a character-driven slice of social realism.

The second half feels heavy and unfulfilled, potential greatness reduced to a good movie plagued with problems.

A tweener but not necessarily a good one. It falls into the gap between good intentions and faulty storytelling.

Great material, but the film never catches fire.

Proving that with solid direction, tight writing and strong performances an American remake can actually be as good as the foreign-language original, The Last Kiss, an unusually perceptive dramedy about contemporary relationships also manages to stand quite capably on its own two feet.

Although it is overloaded with backstory and often tries too hard, Aurora Borealis finds a reasonable balance between romance and family drama.

The track records of the performers are impeccable, but Issit has obviously never watched an awards show or similar event where comedy actors appear unscripted. Placing the weight of such a preposterous storyline on their improvisational shoulders was a disaster waiting to happen. And it happened.

Foulkrod's film is not about taking a political side, though it is clear she is strongly opposed to the war in Iraq. Her focus instead is on the dehumanizing of eager young men and their transformation into killing machines.

Furiously crossing and double-crossing, the two main story lines never quite fuse or comment on each other.

The thing that shines through most clearly, though, is Lennon himself. His widow allowed unprecedented access to the family archives, which along with ample newsreel footage bring us his presence once again.

Amusing dark English comedy produces its share of chuckles.

Yet another ode to the pleasures of overindulgence. The experience of watching this loosely plotted comedy set in the suburbs of New Jersey is somewhat akin to spending a nice summer day playing softball with your friends. Only without the sun, the fresh air, the exercise or the fun.

Ultimately falls short of reaching the pleasingly pulpy heights of an "L.A. Confidential" or a "Chinatown" despite those obvious aspirations.

A relentless focus on action over character and story will leave more mainstream viewers cold.

Suffers from the same occasionally heavy-handed style as its predecessors, it offers a credible indictment against the large corporations currently enjoying windfall profits thanks to the Iraq war.

For the most part, the proceedings are slow, solemn and tedious.

Although Sutherland is an amiable and charismatic figure, his lack of emotional expressiveness doesn't help matters here. The film does, however, offer the spectacle of his getting a tattoo of the film's title (one of the band's songs) in Icelandic.

Buoyed by Gyllenhaal's hauntingly complex portrait of the vivacious but addictive Sherry, the film is no mere by-the-numbers chronology of addiction. Gyllenhaal's sympathetic and charismatic performance binds us to the horror of Sherry's personal demons.