The best of the sequels to Carpenter's seminal slasher movie...Directed with flair by Little, who does not blatantly ape Carpenter's style, the movie delivers a number of effective chills without relying too heavily on the kinds of tired tricks and bloody gore that have made this genre a boring cliche.

Foxx is the one standout in an otherwise overcrowded film.

Rodriguez's film is a high-octane fun-house ride with only one speed: sick-making.

Heartwarming is not always a bad thing.

The sequel-ready twist at the end is a letdown, but until then this is a neatly constructed nail-biter.

This is solid entertainment, and the time Caviezel and Pearce spent training for their sword fights pays off handsomely.

Sweeney's seduction by the good life and the friendship that develops between these two young men from opposite sides of the tracks and on opposite sides of the law has the makings of an intriguing story. However, director Peter Werner and scripter Dick Wolf treat their story conventionally, and there are few surprises. NO MAN'S LAND's saving grace are the performances by Sheen and Sweeney.

Bottoms is a Minnesota-bred law student who comes to Harvard and the lecture hall of Houseman, an instructor who seemingly takes great pleasure in puncturing his students' egos. Bottoms falls in love with Wagner. Essentially, this is a military school plot with a change of venue.

It's quite an achievement and makes a strong argument in favor of traditional animation — this is the first Disney feature since "Dumbo" (1941) to feature watercolor backgrounds, and they're beautiful. But beautiful illustrations and a funny premise can't save this well-meaning kid flick from its dully plotted story.

To his credit, writer-cinematographer-director Peter Hyams (RUNNING SCARED) doesn't pretend he's reinventing the wheel here--he just sees to it that all the pieces are in place and that there aren't too many opportunities for the premise to trip over its own implausibilities.

Bancroft and Mortensen take home the acting awards -- the pleasure they take in what they're doing really makes the film come alive.

Odd yet thoughtful romantic comedy.

Chances are you'll watch most of this documentary with both hands over your eyes, but as a window into a particular kind of insanity seizing kids in heartland America it's enthralling.

The plot is almost as old as Hollywood itself, yet the film's ironic, cynical tone gives the material a new spin under the direction of veteran Peter Yates. The script is savvy about the power structures both inside and outside the prison gates, and the fine cast makes the most of the well-crafted dialog and sharply drawn characters.

A sentimental look at love and middle-aged discontent thinly disguised as a comic adventure story.

Every character fated to die in Othello meets his or her maker by the time the curtain falls on Blake's adaptation, which means the manicured campus of Palmetto Grove is left littered with slain coeds.

Harsh and unsparing, Dumont's all-too-believable film charts with breath taking precision the distance between the unencumbered beauty of moving through space and the agony of inexorably falling to earth.

Insightful, Oscar-nominated documentary.

A lightness is maintained throughout, which leads one to believe the makers were not too concerned about taking their material seriously. The result is an unpretentious, sometimes funny, but not quite scary effort.

A handsomely mounted aviation adventure from the director, screenwriter and one of the stars of the hugely successful BUTCH CASSIDY AND THE SUNDANCE KID, this film deals with that colorful era of the early 1920s when barnstorming--performing aerial feats before rural crowds--was so popular.

It's a beautifully constructed, often disturbing look at a day in the life of several down-at-the-heels denizens of Recife.

Taylor, while perhaps a little small to become a real Vegas showboy, makes for a very charismatic hero, while Joaquin Baca-Asay's cinematography captures all the glitz and slightly tawdry glamour of the Vegas strip.

The film's dispassionate examination of the shifts in Susan and Daniel's relationship as they drift from irritation to barely suppressed panic is at least as nerve wracking.

Makoto's misadventures are specifically geared to the concerns and perspectives of teenagers, while avoiding the luridness of similarly themed films like THE BUTTERLFY EFFECT, and the resolution refreshingly bittersweet.

The genial humor is occasionally marred by an overall sexist tone and some downright nasty homophobic and racist attempts at humor.

Precociously glib and never less than engaging.

F. Scott Fitzgerald was wrong: there are second acts in American lives. But all too many of them are sad, sordid or both, as this fact-based story of sex, drugs and murder featuring adult-movie superstar John Holmes aptly demonstrates.

Cynics may scoff, but the spirit of Woodstock -- not the 1999 debacle, but the 1969 original -- lives.