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

The dialogue is repetitive ("I won't give in to the dark side of the Force!" "You will!") and significant characters from earlier films -- notably bounty hunter Boba Fett and Yoda -- are dispatched without fanfare, and the whole business has a slightly rushed, perfunctory feel at the same time that it feels oddly attenuated.

Like "Juno" or "Little Miss Sunshine," Away We Go is a small film, the kind of gem that's easy to crush with hype or overpraise. But, the fact is that few movies deal with feelings this profound with as much restraint as Mendes and his crew display here.

The film's spirit is one of unbridled bawdy slapstick, which misfires as often as it hits its targets, and its attitude towards women probably won't warm many hearts in the feminist community. In short, Penthouse readers will find what they're looking for in abundance wrapped in a typically bright, fast and furious Hong Kong package that is sometimes funny and occasionally even genuinely erotic.

Lucas rarely breaks his glower to express anything other than tough determination. It's an attitude that's clearly modeled on that of storied Nicks' coach Pat Riley, who, it so happens, played for Kentucky that now legendary final game.

The only good thing about this would-be camp version of the classic 1936 serial is the impressive production design by Danilo Donati.

Lots of laughs, little sense, and pure fantasy. Produced by Fonda's company, NINE TO FIVE is an amusing way to spend 110 minutes, but hardly memorable.

Papillon was produced with consummate technical skill and offers brilliant acting by McQueen and Hoffman.

One of the more graphically violent movies ever made, Magnum Force is shatteringly effective.

Genuinely charming, this children's fantasy is the perfect antidote to Pokemon mania: Younger kids should be entranced, while their older brothers and sisters may just pick up on its gentle critique of a movie culture in which action figures and tie-in toys are all-important.

The third Star Trek film is not as good as the second, but it's reasonably entertaining fare for non-fans.

This was the feature debut of director John Hancock (who would go on to BANG THE DRUM SLOWLY and WEEDS), and he does a fairly effective job of pulling good shocks out of this somewhat familiar material. The script doesn't help his cause: it's badly underdeveloped and contains some confusing inconsistencies.

Actor-turned-first-time-filmmaker Liev Schreiber tosses out most of what made Jonathan Safran Foer's too-clever-by-half debut novel so precious, rooting out the heart of Foer's story from the precocious bombast.

Sensitively played but ultimately undone by its unconventional approach.

Kilmer and Dorff, who was also an executive producer, immerse themselves in difficult roles.

Gray doesn't condescend to his outer-borough characters and elicits pitch-perfect performances from his ensemble cast.

The film is really a timely critique of the ongoing insanity that has engulfed Israeli life.

Austrian auteur Barbara Albert uses complex mathematics, chaos theory and the music of Dutch pop sensation A-Ha to explore the connections that link a group of disparate characters.

Little works in this contrived mess, but by far the worst aspect of it is Roberts' over-the-top histrionics. The film tries hard to create a relationship similar to that of Harvey Keitel and Robert DeNiro in Martin Scorsese's Mean Streets, but the actors' performances are so out of sync that the effort quickly becomes hopeless.

Superior drive-in exploitation fare.

Far from a perfect movie, or even Lee's best, but it shows that he may have developed into an original and talented filmmaker.

A gentle comedy about two misfits--a schizophrenic girl and a boy whom earlier generations would have called an odd duck--who find love, Benny & Joon means well but overdoses on whimsy.

Gorgeous and menacing at the same time.

WAYNE: "No way, Professor; we just needed a story so we could string a lot of gags together without it getting too boring."

The whole thing whizzes by in such a panicked rush that there's no time for anything so immaterial as character, but what little we do learn about Chev works against the film.

A rambling revisionist western whose episodic nature was only marginally successful and which didn't come close to BUTCH CASSIDY AND THE SUNDANCE KID on any level.

Zakarin's semiautobiographical screenplay hits all the sitcom beats.

This is one of Lewis' lesser efforts, with his appearances on the Ed Sullivan Show drawing the only real laughs.