Of all the recent Disney wannabes, THE SWAN PRINCESS comes closest to capturing the ineffable magic of THE LITTLE MERMAID and BEAUTY AND THE BEAST. With its scrupulous attention to background detail and buoyant song score, this animated delight is a children's film crafted with enough sophistication to weave a spell around cynical grown-ups.

Less a history of a specialty that scarcely existed before the '70s -- men habitually donned wigs and dresses to double for women -- than a portrait of two women, one beginning her career and the other in the twilight of hers.

Kang's marvelously assured feature debut is a subtle adaptation of Ed Lin's acclaimed novel "Waylaid."

Daring, ultimately heartbreaking.

It may sound as if first-time director White is having his fun at the expense of introverted, asocial people who prefer the company of cats and dogs and gravitate toward animal-rights activism because the very idea of dealing with human problems requires an empathy they can't muster. But empathy is exactly what makes the film work.

So adorable you don't ever mind that the story's so slight it's in danger of shriveling up and blowing away, or that it drags a little in the middle.

Censorship, madness, social rebellion and the power of art.

A light, entertaining musical travelogue down the highways and byways of the Pelican State: taping performances, interviewing a few legends and dropping in on various musicologists for a little historical perspective.

The result is somewhat confounding, but utterly spellbinding.

The lanky, wide-eyed Tautou is so phenomenally charming -- her smile could sweeten vinegar -- as to make Amelie irresistible.

By the time it's over, this deeply unsettling tale of romantic obsession strays far from the usual course of teen flicks and into some very dark territory.

Often fascinating.

Has an interesting look, several sensational performances (notably from Kyle MacLachlan and Liev Schreiber) and in general works far better than it has any right to.

The result is handsome and logical, but missing the spark that would make it thrilling.

The mystery is marvelous.

The footage in the Indy race is of the awesome 17-car crackup that began the 1968 festivities. Its insertion lends the picture even greater authenticity.

Everyone's honeymoon haven at one time, Niagara Falls, is the deceptive setting for this offbeat, absorbing film with bowstring-tight direction from Hathaway and superb performances from Cotten as a jealous husband and Monroe as his neurotic wife.

No matter how slick and questionably appropriate Morris's style may be, the content is compelling.

Like most Trek movies, it's a bit talky and a bit thin, unless you come to it with an extensive background gleaned from the series. But then, who but a fan would be going anyway?

The result is a film that's comfortable and familiar, but at the same time feels fresh, fun, and original.

There's little difference between this joyful holiday film and the standard-issue yuletide-miracle movie, except that the holiday isn't Christmas.

If the banter lacks the often brilliant and erudite -- if showy -- sparkle of its predecessor, the acting is still first-rate, and the film will be best enjoyed by fans eager to spend another 90 minutes with a group of old friends.

Written by Joe Dante and directed by Allan Arkush, this refreshingly wacky teenage film is filled with warped humor (including mice exploding to Ramones music), and makes wonderful use of the "so dumb they're smart" Ramones, who stepped to the fore when Cheap Trick backed out of the project. Nothing is taken seriously and nothing should be--it's only rock 'n' roll.

Director Ron Howard attempts the Great American Newspaper Picture and mostly pulls it off. The film's greatest weakness is that he and screenwriters David and Stephen Koepp (the latter a journalist himself) love those scrappy newshounds too much; THE PAPER doesn't even try for the appropriately acid bite of, say, any version of THE FRONT PAGE.

Stands out by virtue of its impressive visual style and the filmmakers' decision not to massage the facts into cliched conflicts with neat, feel-good resolutions that produce the proper sense of uplift.

The tragedy of modern Tibet haunts this otherwise lighthearted tale of life inside a Buddhist monastery-in-exile.

A fascinating fictional documentary.

By trying to be both a portrait of Rijker and an introduction to women's boxing, it shortchanges both subjects.