A beautifully lensed but ploddingly paced tribute.

Koepp does a masterful job of grounding his intimations of the supernatural in a totally persuasive down-to-earth context.

The Prisoner is in many ways a justifiably angry film, simmering with moral outrage. But it is also -- surprisingly, maybe even amazingly -- hopeful.

An ingeniously twisted mockumentary.

Skillfully entwines stories of three young women drifting in and out of a Jersey City juvenile detention center.

Slight but lively sequel. Aimed squarely at moppets with piddling attention spans.

Exceptional performances by two femme leads and sensitive but unsentimental storytelling throughout.

This stunningly shameless follow-up to the 2002 theatrical sleeper (and homdevid mega-seller) offers more of the same -- a lot more -- while repeatedly upping the ante in terms of offensiveness. Which, of course, should greatly -- and profitably -- please is target aud.

Equal parts audacious dark comedy, wish-fulfillment fantasy and over-the-top, tongue-in-cheek action-adventure.

Strong performances, a few dramatically potent scenes and a vividly specific evocation of locale barely offset hackneyed and muddled elements in a script that plays like a first draft.

Sascha Paladino's overlong but engaging doc about banjo virtuoso Bela Fleck's harmonious journey through four African countries.

Intelligent, informative and unusually entertaining documentary errs only when it yanks too insistently on heartstrings while focusing on worst-case scenarios involving desperate debtors driven to suicide.

Deftly maneuvering through audacious mood swings and tonal shifts, The Matador emerges as a quirky yet commercial commingling of black comedy, seriocomic psychodrama, heart-tugging sudser and buddy-movie farce.

Deftly interlaces heart and humor in a witty, warm and well-observed comedy about the unexpected and inconvenient blooming of romance at the weekend gathering of an extended family.

Small children who will accept it as rock-'em, sock-'em excitement with a touch of gender-specific empowerment, and hipper teens and grown-ups who can appreciate the whole thing as a semisatirical hoot.

So insubstantial that it practically evaporates on screen, Pooh's Heffalump Movie likely will play best with toddlers and pre-schoolers easily amused by bright colors, merry songs and lovable, huggable toon animals.

Slow-burning buildup, lack of explicit mayhem and overall low-tech approach may strike cineastes as amusingly quaint.

Riveting portrait of a straight-talking, tough-loving Benedictine nun in charge of a South Bronx home for recovering substance abusers.

Has some genuinely amusing moments of dumb and dumber silliness.

Intelligent, involving and intricately plotted thriller.

Richardson, who gracefully sways through a memorable drunk scene, and Quaid, whose megawatt smile has never been more dazzling, are disarmingly charming as the parents. And that's important; if the actors were any less engaging, the audience might not be so forgiving of their characters.

The biggest laughs and most intriguing revelations are provided offstage in this slickly produced documentary, as O'Brien -- often pushing himself to the point of exhaustion before, during and after performances -- plays for keeps while playing for laughs.

Even though Frakes is back, Star Trek: Insurrection plays less like a stand-alone sci-fi adventure than like an expanded episode of "Star Trek: The Next Generation."

It's meant as high praise to say that, very early in Robots, the extraordinary starts to seem perfectly ordinary.

The picture's dialogue-heavy stretches and ambiguous finale could leave ticketbuyers impatient for less chatter and more chomping.

Brimming with heart and humor -- Drumline is a formulaic crowdpleaser set in the competitive world of university marching bands at predominantly black universities.

The tone of Reel Injun is respectfully serious, though well short of angry, while focusing on how the stereotypical depictions of marauding redskins affected the self-images of Native Americans.

Sarah Silverman: Jesus Is Magic showcases the comic-actress in her familiar on-stage persona as a blithely self-involved Jewish American Princess whose penchant for perky vulgarity can be explosively funny or unnervingly shocking.