Unfortunately, this earnest but short-sighted documentary by New York-based painter-turned-filmmaker Stefan Roloff touches only the tip of a very large iceberg.

Expect lots of earsplitting music, garish visuals and badly staged martial arts action.

Like the original "Fantasia's" eight segments, the results are a mixed bag.

Overall, the book is a far more rewarding experience than the movie.

It aspires to a documentary realism and keeps the focus on the characters at all times. Though the results can't really be called enjoyable, the intensity that bleeds off the screen is undeniably effective.

Most of the music is as fine and fierce as you could want.

For a mountain of muscle [The Rock]'s a surprisingly charming screen presence. And his low-key appeal helps nudge Peter Berg's derivative but good-natured light action picture in the direction of breezy entertainment, rather than painfully noisy macho posturing.

Hawn makes the most of the script, written by Nancy Meyers, Charles Shyer, and Harvey Miller, providing many funny moments in her performance.

First and foremost a showcase for the latest developments in motion-capture and 3-D technology.

An intelligent, imaginative children's adventure refreshingly free of rapping cartoon animals, fart jokes and mind-numbing special effects.

Jordan and McCabe's real triumph here, however, is the tenderness with which they imbues "Kitten," and the astonishing grace with which the extraordinary Murphy pulls it off.

Raimi and company deftly balance spectacle and character-based drama, occasionally tweaking the comic-book mythology but always respecting creator Stan Lee's idea that costumed crime-fighter Peter Parker's life as Spider-Man isn't all derring-do and public accolades.

It's actually sharper, less reverential and generally better than "Misson: Impossible."

Davis' tough, man-of-the-people narration is often annoying, but his words can't diminish the power of his story.

The superego gets bested by the id in Spanish director Joaquin Oristrell's curious period sex comedy, which mixes intellectual musings on psychoanalysis with vulgar guffaws of the basest sort.

Any similarities to "Northern Exposure" are undoubtedly coincidental, but the comparison is entirely apt.

Director John Glen is an old hand at James Bond films, having worked on three other 007 movies. He knows this popular spy well and does him great service in this well-paced film.

First-time feature filmmaker Oliver Hirschbiegel maintains a riveting sense of simmering brutality.

For a De Palma film, Obsession has much more suspense than violence, even if much of the premise and motivations are shamelessly culled from Hitchcock's Vertigo, as is composer Bernard Herrmann. The lack of originality, however, doesn't make Obsession any less effective, and the film has been generally overlooked in the spotty De Palma canon.

Characters are undermined by the inexpressive animation that mars the majority of animated films: Their haunted inner lives are clearly meant to take center stage, but their faces are blank and two-dimensional.

A tale of conscience lost and found becomes little more than a smart but tepid ghost story for idealists and '60s survivors, and not a terribly spooky one at that.

(Bassett's) finally been given another part worthy of her talents, and she makes the most of it.

Catches you with a creepy sucker punch.

A perfect example of how a top-flight cast can compensate for unimaginative filmmaking.

More music and less melodrama would serve audiences better.

The not-so-incredible story of two girls in love.

The film benefits from an appealing cast, though neither Slater, Tomei, nor Perez is called on to stretch very far. Though actor-turned-director Tony Bill has proved himself adept at character-driven dramas like MY BODYGUARD, the material he's working with here is simply not up to scratch.

Cruz's willingness to allow her appearance to be so degraded for cinema's sake doesn't really help.