Hugely entertaining thriller.

"Working Girl," is also heard in Little Black Book; it serves only to remind audiences of that far more winning story of triumph in the office. But there are many reminders of what a tiresome effort this is.

At times somber, and now and then dangerously close to self-important, Code 46 is nonetheless a smart, mature film that examines who and what we can be to each other, in a world full of invention and change.

Open Water, which was made for $130,000 -- and seemingly without special-effects assistance -- proves you don't have to have a big budget to have an audience on the edge of its seat.

Shrewdly reconceived, powerfully acted and hugely entertaining.

It's bad enough to make parable a four-letter word.

Mr. Luchini gives one of the best performances of the year, in one of the best movies of the year.

Mr. Braff's idea of self-discovery is my idea of narcissism.

It's too much for a feature film, and too little, but it certainly isn't dull.

Supremacy certainly works on its own terms, but those terms are limiting. It's an entertainment machine about a killing machine.

Qualifies as top-grade catnip for connoisseurs of trashy camp.

Impressive for Patrick Tatopoulos's production design but depressive for the juiceless story.

A remarkable -- and harrowing -- debut feature that makes you think there's hope after all for the future of independent films.

One of those rare and complex dramas that you can enter, not simply watch.

The sweet spirit that made last year's "Elf" such a success has curdled considerably.

Every sport, and every sports film, must have its superman. The role is filled here by Laird Hamilton, who, we are told -- and, more astonishingly, shown -- took "the single most significant ride in surfing history." Seeing is believing.

Bleak, remarkably turgid, tediously violent, devoid of drama, deprived of magic, stripped of romance and, except for one of the oddest boy-meets-girl scenes in movie history, a befuddled and befuddling excuse for entertainment.

A limited movie that can't animate its subject amid all the tricks and glitz. De-Lovely is devoid of life.

It's "My Dinner With Andre" for the relationship generation.

The Clearing has been directed by a successful producer. In this case it's Pieter Jan Brugge, who brings seriousness and intelligence to his newly chosen craft, but little verve.

A lot of talent to lavish on a single movie, but the result is uncommonly smart for the genre, and not just smart but tremendously enjoyable.

A lovely surprise. Ripe with feeling and lush with physical beauty, it's a love story that swings confidently between age and youth, and, like the young Tiger Woods of old, avoids every trap along the way.

At its best, Fahrenheit 9/11 is an impressionist burlesque of contemporary American politics that culminates in a somber lament for lives lost in Iraq. But the good stuff -- and there's some extremely good stuff -- keeps getting tainted by Mr. Moore's poison-camera penchant for drawing dark inferences from dubious evidence.

The Terminal is a terminally fraudulent and all-but-interminable comedy.

Though there's less to the film than seduces the eye, the allure of those surfaces can be hypnotic.

Its terrific cast kept making me laugh out loud.

A tatty but good-natured time-passer.

A pitiful shambles of a remake, The Stepford Wives might have qualified as a rethinking of the 1975 original if there were any trace of coherent thought in the finished product.