It's a clever legal thriller, one that thankfully doesn't twist itself into a knots trying to keep audiences off guard.

Can't match the original's shock factor --abortion isn't the taboo subject it once was and the women of Sex and the City have helped make playing the field good, dirty fun.

There's no downside to a reminder that not every beefy, God-talking sheriff is a bigoted cracker, and Kraus' short, no-frills documentary is a model of fly-on-the-wall filmmaking.

Most of the extreme Trek fans it features are obsessed in a big way, and if they were your children you'd probably be thinking therapy.

This savvy adaptation of Robert Ludlum's action-clogged 1980 bestseller benefits from the fact that the filmmakers were smart enough to throw out most of the book's preposterous spills and thrills and concentrate instead on its intriguing central character.

Those bothered by crunching violence and plot lapses won't find much here to enjoy, but action fans will find it delivers just about all they want from a film.

Stylish, exciting and an occasionally poignant sci-fi adventure spectacle.

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

If the roller-coaster plot twists lose you, there's always the satisfaction of Douglas's take on a script rife with amusing double entendres.

Less spectacular but more effectively atmospheric than Akira, Ghost in the Shell should gratify anime buffs and may well hook the uninitiated.

Inoffensive and designed to cater to some sort of middle-of-the-road constituency (it's not entirely clear who wants period gangster Westerns to be jolly instead of dark), this film is a huge leap forward for director and cowriter Richard Linklater, and he tackles the genre conventions and period set pieces with eminent grace.

Set in the New York milieus Mazursky knows so well, AN UNMARRIED WOMAN has some great insights and is superbly acted by all involved. The director populates the film with his usual, very real and attractive modern characters, but you may think it cops out in the end.

Anderson is a master of detail, from the film's ubiquitous fish motif to the elaborate carnival set piece that unfolds inside the claustrophobic confines of a spook-house ride called "Route 666."

Weinstock's trump is Moreau, a natural-born charmer.

In the end it's all seductive surface and no substance, but Lough has a bold eye and a vivid sense of uniquely urban beauty.

The film often teeters on the brink of melodrama and is saddled with a sappy original score.

Essentially a feature-length episode of the popular Nickelodeon animated series, this faithful expansion is savvy enough to stay put.

Comprehensive and reverential.

A very funny superhero spoof.

The funny lines fall flat and the relationships and conversations among adult characters are straight out of 1950s sitcoms. Now that's scary.

It can be funny, but the humor is too often based in stereotypical perceptions of Asians (they're short, they're laughably polite, they eat weird food), and Coppola shamelessly invites us to laugh along with Murray's character, who, believe it or not, thinks it's hilarious when his hosts get their "r"s and "l"s switched.

Amid the clutter, Weber -- who narrates but never appears in front of the camera -- occasionally allows a glimpse into his own mind.

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.

Irving's dead-serious sense of spiritual purpose is here replaced with weepy sentiment and saccharine comedy. But knee-deep in syrup, the film manages to stand on its own -- mainly due to a terrific performance from young Smith and a host of winning supporting players.

Moore's desperate need for attention is irritating, but it's also his strength as a gadfly; it drives him to needle sacred cows and received wisdom that would otherwise go unchallenged.

What the film lacks in general focus it makes up for in compassion, as Corcuera manages to find the seeds of hope in the form of collective action.

If you have the stomach - or the Dramamine - it's a touching, humorous take on Jewish life in contemporary Argentina.

The usual John Grisham legal hokum, tranformed by director James Foley into surprisingly grim and affecting stuff.