A terrific cinematic essay that will have a very, very long shelf life.

The result is not the train wreck one might anticipate from surfing the Net. The catfights, overacting and Berry's swagger in a skimpy, tight, leather outfit that would be right at home at a Hookers Ball make for campy fun.

This documentary about Howard Zinn provides an effective if not necessarily comprehensive or objective portrait of the esteemed historian and activist.

Cunningham's 1990 novel makes an assured, if not entirely satisfying, transition to the big screen in this terrifically acted exploration of the bonds that transcend traditional notions of family.

Mixing all the liberal blood-letting with equal amounts of inspired comedy, Kitano puts a fresh face on the classic material without messing with its heart.

Director Takashi Shimizu chooses cruel psychological suspense over gore and succeeds in spinning a minimal plot into a panorama of malice.

Like its various post-Cold War European locations, the film remains chilly and distant. Every time you feel like you're finally grabbing hold of something involving, the picture once again spins frustratingly out of reach.

Despite the melodramatic plot twists, there's little emotional resonance to the proceedings, and the film's attempts to link them in metaphysical fashion prove overly ambitious and pretentious.

Manages to be insulting both to slasher movies and lesbians. Where's the gay rights movement when you need it?

It's an unusual idea but fails -- Sun spends so much time on the mood and atmosphere that he forgets about the story.

From its uninspiring title -- and certain turnoff for young males -- to its limp slapstick and uneven acting, A Cinderella Story arrives with a dull thud.

Ultimately, the ending is a bit of a cop-out, but that's a small criticism for a film with such decent perspectives.

What makes the film so much fun is an ingenious plot device embedded in Rashid's sharply observed screenplay.

The film works best as a kind of mindless, action-packed B-movie. But on the A-level at which recent science fiction/fantasy films operate -- meaning the "Spider-Man," "Harry Potter" and "Terminator" series -- this movie falls woefully short.

A good-natured Indian-American romantic comedy in the style of "Bend It Like Beckham."

Squanders its potentially rich possibilities.

The production is graced by bold performances, lyrical visuals and, most notably, Irving's own words, which have made the transition quite intact thanks to a faithful but still filmic adaptation by writer-director Tod Williams.

Unfortunately, the film lacks the hypnotizing strangeness of Foreman's best stage efforts and also pales in comparison to cinematic works like Matthew Barney's far more ambitious "Cremaster" series.

These are rich, aging men in a young man's game, and the discrepancy between image and reality, captured by the filmmakers, makes for engrossing material.

The film is an initially insightful portrait of modern corporate society that unfortunately lapses into melodrama.

Essentially sleepwalks its way through a strictly by-the-numbers premise.

Does make you laugh even if you hate yourself for doing so. A creation of former "Saturday Night Live" colleagues, the comedy plays like an extended skit with bits of improvisation and several slightly extended sequences.

An engrossing, highly intelligent reimagining of the legend of Arthur.

Eventually gets so bogged down in its own quirkiness that its humanistic message gets lost.

The film would make a better fit on television or at one of Disney's theme parks. In cinemas, Heart & Soul is an odd duck, out of sync with the current generation of documentarians whose films dig deep into stories and issues the media generally overlooks.

The real problem is that Brugge and Haythe fail to satisfactorily pull off either the thriller or the marital deconstruction.

This is one of the most wildly romantic movies in ages.

A sprightly musical revue built around Cole Porter songs and a few biographical tidbits culled from his extraordinary life.