It's so bright (even when it means to be serious) and bubbly that it seems mean to point out that it isn't really about anything -- except how cool sharkskin suits and Capri pants are.

This stunningly photographed documentary captures extraordinary images of ocean-based life.

The only thing that enlivens Beauvois' anti-thriller is Baye's beautiful performance.

Birdy is one of those rare movies that successfully brings a psychological novel to the screen without sacrificing its saliency or complexity.

Postcards is a mixed bag. There are a number of entertaining moments; however, potentially rich characters and situations wither from lack of development for the sake of the central relationship, which is never wholly convincing.

PERSONAL BEST offers a detailed, believable insider's portrait of the world of track and field. This very different sports film isn't for everyone, but patient viewers should find many small pleasures in it.

SINGLES is funny and well-observed and, most notably, plays to its audience's intelligence rather than its libido.

Short on action but heavy on ambiance, and the cumulative effect packs a whopper if you're willing to stop and think about it. Penn, never one to opt for action over thought, clearly expects that his audience will.

With its dream cast, standard story and heaps of class, this is the kind of sophisticated heist flick that could be just as easily at home in 1951 as it is in 2001.

A sweet-natured coming-of-age/raising-of-consciousness drama.

The result is an interesting, if slightly unbalanced, hybrid: a social problem film with the warm heart of a deeply felt love story.

On the whole, it all goes down rather smoothly. Those left wanting more are referred to the RSC's monumental production, now available on DVD, or better yet, to Dickens's original novel.

Broomfield's film is typically self-aggrandizing but filled with unsettling moments.

Shot in the same campy style that characterized the TV show, all the cast members look like they are having a great time chewing up the scenery. Meredith as the Penguin and Gorshin as the Riddler are the villainous standouts.

Suspenseful throughout most of its running time and exceedingly well shot, ROAD GAMES collapses at the end. The confrontation between Keach and the killer is a let-down. Although director Franklin has definitely studied his Hitchcock (he would go on to direct PSYCHO II), his film lacks the psychological depth of the master's work. Keach, however, is very engaging as the eccentric hero.

While many of the jokes don't pay off, it's still funny enough to merit your attention. Mancini's score adds pace and flow. This spectacle is almost totally uncontrolled, and therein lies much of its charm.

There may have been better songs and even better performances in other musicals, but for effervescent energy nothing has yet come close to the joyous, influential On The Town.

It's all good fun, and Ustinov is very amusing as Blackbeard.

If anyone else but Williams had written this stage play, it might have been hailed by everyone.

Director William Asher, whose previous credits include various episodes of I Love Lucy and several beach party movies--most notably, BEACH BLANKET BINGO and HOW TO STUFF A WILD BIKINI--keeps the action rolling at a brisk pace, while Tyrrell turns in one of her best performances as the psychopathic aunt.

The story works, in that everything fits together, but the film feels hollow and unfinished, like a run-through for a movie rather than the movie itself.

This is one of the most charming low-budget films in years, a freewheeling, light-hearted farce that gives some new twists to old plot devices.

Although there are some slow sections, RITA, SUE AND BOB TOO! provides a number of good laughs and also more than a few empathetic winces.

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

It's rendered in shiny, state-of-the-art CG animation, not the charming pen-and-ink drawings with which Seuss illustrated his own books or the hand-drawn artistry Chuck Jones brought to the 1970 Horton Hears a Who! short. But considering the messes that came before, that's a minor quibble.

And if you never learn much about the man behind the mask, well, that's as Nomi would have wanted it.

An engaging bit of entertainment.

Anderson pulls it off, thanks in large part to his witty writing, punchy editing and a likable supporting cast.