Offbeat and ravishingly beautiful.

The character designs, however, are much less impressive. Except for the oddly naturalistic Sinclair, the rest look like cartoony characters from one of Disney's '60s films.

Rough around the edges but rock-solid in its sense of place and its depiction of real people overreaching their apparent limitations.

Ferociously entertaining.

Diop Gaï's performance is equally beguiling: She's both bold and mysterious, a femme fatale bursting with life.

The film is not without its share of awkward moments, but as an insightful critique of "Girl Culture" and the mounting war over the hearts and minds of adolescent girls that's currently being waged in the media, it's mandatory viewing.

Mamet's jabs at Tinseltown's silken ruthlessness are quietly pointed, and the ensemble cast -- even the brittle and sometimes annoying Pidgeon (Mamet's wife) -- is brilliant.

The colorful and kid-friendly characters are a delight, though very young children might be alarmed by some of the larger creatures, who tend to come into view teeth first.

This taut crime thriller is a welcome antidote to brainless action extravaganzas in which the mayhem is the message, and rests on two shrewd, perfectly modulated performances.

Occasionally melodramatic, it's also extremely effective.

Makes for a great story.

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

It offers a rare opportunity to watch a world-class playwright bringing one of his own works to life; rarer still, Almereyda puts his notoriously reticent subjects so sufficiently at ease that they actually sit down and discuss their craft.

It's probably not the last word in WASP angst, but it's eloquent, witty, graceful and as sharp as can be.

The film is as beautiful as it is unpredictable.

Oddly, once removed from the museum setting and strung together into an hourlong feature, it's Maddin's most cohesive narrative.

From its ominous opening to its spectacular climactic stunt, the hypnotic precursor to director Tom Tykwer's "Run Lola Run" is a quieter but creepier affair.

The cast is wonderful, the soundtrack features a well-chosen array of bouncy period pop tunes, and Graeme Wood's cinematography makes the most of the stately beauty of the dish itself.

It's an interesting story, more accessible to non-Trekkers than previous entries.

Even if you're feeling a little numbed by the spate of films dealing with 9/11, make an exception for this important documentary.

Kassell's visual influences are evident -- she's clearly a fan of the down-and-dirty films of the '70s -- but the consistently fine performances smooth over the rough patches.

Like the original "Fantasia's" eight segments, the results are a mixed bag.

This film exposes a more insidious kind of exploitation, one far more difficult to detect.

Spare and quietly heartbreaking, this French-Canadian feature uses a fine brush to depict a teenage girl in the midst of a quiet crisis.

If you ever wondered why they call it "the curse," this movie will enlighten as it entertains.

Ostensibly about artificial life forms, each of these four short, expertly crafted stories offers a poignant perspective on what it means to be human.

Where this still vital series was once about what sets us apart, it now seems to be turning towards the things that, in the end, render us all equal.

If watching devout churchgoers pray to Jesus before a static camera sounds like the dullest idea ever for a documentary, think again: This might be the most fun you've ever had in church.