What's amazing is how much first-time director Ganatra and cowriter Susan Carnival get right.

It's not a great film, but let's face it: Considering the source, this is as good as it was ever going to get.

The film is, in fact, an adaptation of Anton Chekov's "The Seagull." This provenance also explains why there's something slightly old-fashioned about the whole business.

The technology for twinning a single young actress is considerably more seamless than it was in 1961, and Lohan is a perky charmer.

It's a real shame that the first half hour is a disorganized ramble that risks driving away the film's audience; a little artful editing would have gone a long way to fixing the problem.

While some may object to the storytelling techniques employed by playwright and screenwriter Willy Russell to depict his title character, others will find themselves enchanted by Shirley Valentine.

Poignant documentary.

There's a caper and there are some laughs, but this isn't a larky caper flick; it's a pulpy little story that could at any minute go straight to hell.

It's too fundamentally light-hearted to wallow in grinding poverty and despair.

Actress Jane Horrocks is so good in this drama that you'll hardly notice -- or care -- that the rest of the film isn't quite up to snuff.

This provocative, at times languid, documentary from German experimental filmmaker Gabriel Baur is something of travelogue through this unexplored frontier, a mixed-up, shook-up borderland where nothing, especially not an individual's gender, should be ever be taken for granted.

A slickly crafted fable, however dark, but it's shot with haunting poetry.

Dazzlingly colorful.

Wang's film offers an interesting look at the rapidly changing face of Beijing.

For all the technical wizardry that went into making the film, Paxton's reflections on the human tragedies of the Titanic and the terrorist attack of Sept. 11th, 2001, which took place while the crew was out at sea, provide one of the film's most haunting moments.

Davaa and Falorni's film does suggest that camels have inner lives as rich and complicated as the human beings with whom they live in such intimate proximity. But they're also wholly camels, matted, goopy-eyed, gritty with sand and quick to knee an adorable calf in the snout when its demands become annoying.

Rough-edged but affecting drama.

Louis Malle's somewhat overrated My Dinner With Andre is a filmed conversation between two friends, and whether you find the movie profound, pretentious, or entertaining will depend on how interesting you find the talk.

The brouhaha aside, this chronicle of SNAFUs foretold doesn't have much new to say but says it with biting precision, and Phoenix's sharp, sneakily sympathetic performance is a pleasure to watch.

The fifth picture of the Pink Panther series, this wasn't as good as most of the others. It's a bit too unfocused, and the scenes shift to locations all over the world, like a comic version of a James Bond movie, but a good cast led by Sellers, under Edwards' direction, still provides plenty of laughs.

The surprise is how utterly original his (Woodley's) gorgeously mounted curiosity seems.

While nothing to rival Hitchcock, the film's look and direction make it a worthwhile effort. Doris Day makes the switch from light comedy to suspense fairly well, creating a believable victim, while Harrison, his usual debonair self, adopts a sinister air.

(A) languorous, mud-spattered psychological tale.

Chock full of personality and irreverent detail.

While the deliberately amateurish, stilted acting seems at odds with the fruity dialogue, Maddin's intention is to subdue every aspect of his peculiar dreamscape; acting, decor, costuming, cinematography and sound recording remain equal components. No one element predominates or upsets the director's carefully controlled chaos.

This rambling exercise in local color has been a pet project of Duvall's for more than a decade, and it's to his credit that he managed to get such a low-concept picture produced. It's also to his credit that he resists the temptation to take easy potshots at religion, particularly of the revivalist variety.

It's all mindless, absurdly complex and hopelessly hip in that 1960s sort of way, but an agreeable way to pass the time with gorgeous Sophia.

Christopher Lee is excellent as the mute monster, but this is Cushing's film all the way.