Steven Soderbergh's direction conjures an understated '70s vibe, striking an apparently effortless balance between grit and glamour.

The folks at Disney prove that clothes -- and little else -- make a man, and do so with extraordinary style.

Essentially a supersize episode that ignores a slew of fifth-season developments and adds yet another monster to the mix, one that owes a striking debt to "Alien."

Ryan has a wonderful way with Hartley's often difficult dialogue, and is engaging even when the rest of the film is not

Yes, it's another gay coming-of-age while coming-out drama, but rarely has the subject been so truthfully addressed.

It's all cutely derivative, occasionally charming and very occasionally clever...but the movie's vague aspirations to being something more than disposable fluff never amount to anything.

First-time director Lisa Cholodenko, who has made a powerful and modish film with a subtle and knowing script, is more than ably assisted by a spectacular cast.

Ford is the problem: He looks great for his age (56, to Heche's 29), but oozes a stolid gloom that snuffs out those sparks long before they can set the lush scenery on fire. In a classic screwball comedy, he'd be Ralph Bellamy.

Unceasingly vulgar and sporadically funny, this revenge comedy rests heavily on the shoulders of former SNL wiseacre Norm Macdonald.

A cool indictment of television's near-irresistible pandering to the inner peeping tom.

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.

But the soundtrack will delight anyone whose blood stirs at the strains of "I'm Coming Out," "Le Freak" or "Doctor's Orders."

Director Forest Whitaker, who appears to have been typed as a female-friendly director in the wake of "Waitinh to Exhale's" runaway success, drags out the already painfully slow proceedings with syrupy dissolves, slo-mo sequences and redundant flashbacks, underscoring it all with an intrusively obvious country soundtrack that matches lyrics to emotions with cringe-inducing exactness.

A peculiar and oddly haunting achievement.

The wonder of it all is how bitterly funny the complications are, especially as filtered through Dedee's monstrously self-centered voice-over.

Beatty's contribution to the ranks of recent political satire is bold, merciless and frequently very funny, and his performance is just plain fearless.

The year's most eagerly anticipated green-eyed monster finally rears its ugly head, not with his trademark radioactive roar, but a deafening yawn.

Curl your cynical lip if you want, but there's a place for heartwarming, life-affirming, even weepy dramas, and Robert Redford brings the best-selling novel about a traumatized teen and her wounded horse to the screen with dignity and restraint.

The ensemble performances are perfectly meshed, and the Sprechers deserves special credit for bringing the desperate underside of Posey's brittle self-assurance to the surface.

There are a few inspired set-pieces -- Ruber's creation of a mechanical army is really quite something -- and the score by David Foster and Carol Bayer Sager is generally fine. But overall, this is a bloodless entry into an already highly formulaic genre.

A three-hankie weeper in disaster-movie drag, and its tear-jerking bull's-eyes are separated by long stretches of tedium.

Though too long by a good half hour, Lee's latest film packs a genuine emotional punch, largely because its polemical agenda doesn't entirely eclipse the drama.

Cloying, immature and relentlessly cute, this grating British comedy about two London con men is every bit as shameless as its heroes.

An honorable and well-acted version of Victor Hugo's classic book bag-buster (not the Broadway musical), a sprawling melodrama whose prodigious length and scope have bedeviled all previous adaptations and hang heavily over this one as well.

Dithery, nattering and a bit long for such a conspicuously airy trifle.

The hyperactive Hong Kong action stuff is getting old.

This deliberately provocative story of deception and sexuality packs a punch that's undermined by the director's indulgence.

You come away with a remarkable sense of the filmmakers and actors working together harmoniously as they delve into the heart of relationships between friends and lovers.