Turning "Zorro" into a family movie with domestic squabbles and sitcom situations takes some of the luster off the romantic adventure of Old California.

A prime example of a solid romantic comedy.

The killer himself takes a far more prominent role in this edition, and as played by the superb Tobin Bell he's quite a memorable creation.

In The Weather Man, Nicolas Cage doesn't so much play a protagonist, warts and all, as he plays a protagonist who is all warts.

A tender take on life after stardom.

While nothing truly new or shocking emerges, the film does bring clarity and compassion to its depiction of an act that baffles, angers and sickens people the world over.

The result falls somewhere between psychodrama and horror. Cult cinema fans should come away satisfied, though the stories are probably too brutal to reach much into the mainstream.

A deeply personal, often wrenching documentary.

A captivating if somewhat conventional documentary, Ballets Russes is a paean to the groundbreaking, 20th century ballet troupe that began as a loose group of Russian refugees, metamorphosed into the Ballet Russe de Monte Carlo and eventually split into two competing companies.

Showing that there is both rhyme and madness to seemingly unfragmented everyday life, screenwriter-director Michael Haneke has created a pointillistic portrait of terror, presenting a number of tiny, mundane incidents that eventually enable us to connect the dots.

Plot, character development and dialogue are so sparse that the screenwriters are fortunate they're not paid by the word. But this basic approach doesn't render it ineffectual. There's so little to go wrong that those who like their entertainment mindless and violent will find little fault.

Recycles just about every sentimental ploy and cliche from a raft of horse racing movies.

Displaying some fine performances -- including a lovely one by Claire Danes and a lively one by Jason Schwartzman -- the elegantly appointed Shopgirl certainly has the goods but it ultimately fails to make the sale.

There's really not much of an audience for this picture. The movie demands that its viewers put the fragmented images and information together like an intellectual jigsaw puzzle, but it never gives those viewers a good reason to do so.

Downey and Monaghan are wonderful at playing characters that compensate for the harshness of their past with flippant swaggers.

Puts a human face on the failings of the American judicial system and the growing importance of DNA in legal proceedings.

Sustains a pervasive feeling of anxiety and suspense, despite an absence of dramatic conflict or resolution.

Protocols of Zion is often funny, revealing the idiocy of hatemongers through their own harebrained explanations.

Well-meaning but woefully unconvincing.

In the charming comedy-parable Ushpizin, religious orthodoxy inspires not unbending dogma but humble, sometimes baffled spiritual striving by its embraceable, flawed characters.

The admirably tasteful result is a social study far more suited for the likes of Oprah Winfrey than Jerry Springer.

Thanks to dynamic performances by Keira Knightley, Mickey Rourke, Edgar Ramirez and a strong cast -- sometimes all but buried beneath irksome stylistic flourishes -- this dark and absurd melodrama certainly has raw energy.

Tedious humor and sentimentality bury what could have been a pretty good road picture.

Director Rupert Wainwright fails to bring any style to the material, not producing a fraction of the suspense or wit generated by Carpenter in the original even while working with a far lesser budget.

Atom Egoyan has delivered a big, slick and sexy mystery in Where the Truth Lies, turning the Rupert Holmes novel into a sumptuous tale of show business hype and duplicity.

The issue of sexual politics so dominates the story that it's a relief when an emotional showdown involves family rather than workplace issues. Not so surprisingly, these are the movie's best scenes.

Directed with aching purpose by Lawrence David Foldes from a script he wrote with Grafton S. Harper, the lavish-looking but hackneyed memory play is small-screen fodder at best.

A riveting tale of survival and how even war cannot diminish a child's indomitable spirit.