A dry compendium of talking-head interviews.

Hits the screen with its disarmingly droll spirit quite intact.

A smooth blend of visual special effects, exceptional stunts, fluid photography, sharp design and a possible best-selling soundtrack.

The result is slightly less interesting and less appealing even as arthouse fare.

While those in the know will undoubtedly find something to appreciate in the film's wide-ranging if amateurish stabs at satire, the vast majority will feel left out of a private joke.

It is to Dance's considerable credit that he never lets the filmmaking overtake the understated storytelling.

Too squeaky-clean to convey the turbulence of the period.

A work of powerful humanism.

Tells a fascinatingly lurid tale.

Thrillers don't get much smarter than The Interpreter.

This is a hand-me-(dumbed)-down chick flick that is counting on Kutcher's tabloid popularity and Peet's unmistakable though here underutilized talents to cover up for rote characterizations, tired plot devices and a general lack of inspiration.

A desperately strained comedy.

Very entertainingly takes us into the world of stuntwomen.

Not only a great cautionary tale, it's a civics lesson that should be seen by every concerned citizen.

The Game of Their Lives has a great sports story to tell, yet the filmmakers fumble it away.

The drama gets stuck in a dispiritingly dull rut and fails to build toward what is supposed to be a something of a crowd-rousing triumph over adversity.

Exists as a freaked-out drama rather than a parody.

Shorter and punchier but nearly as hokey as the original.

David Duchovny delivers a clearly heartfelt but terminally mawkish and awkward directorial debut in House of D.

Crammed with charmless characters and/or hammy performances.

It lacks the genuine wit to elevate it to a truly satirical level.

Possesses a lighthearted quality that makes it rather enjoyable.

What emerges is that Yao is a fascinating individual with great humor and modesty, as well as the potential to be one of the greats. Unfortunately, that's all we really find out about the guy.

Unfortunately, this feature, originally made for Italian television, doesn't quite do justice to its stirring subject.

It's a highly stylized piece of work typical of director Todd Solondz, who renders wildly exaggerated sequences on a topic not generally thought of as a basis for comedy. He leaves it to the viewer to decide if it's insightful whimsy or meaningless drivel.

Ultimately, Adam Moreno's screenplay, with its multiple narrators and constantly shifting points of view, makes for mighty confusing viewing.

Any movie starring Penelope Cruz or William H. Macy can't be all bad. And Sahara, which stars both Penelope Cruz and William H. Macy, proves the point: It isn't all bad.

Ultimately goes the distance, it gets the job done with a halfhearted bunt rather than a solid line drive.