Not just a 3-D novelty to amuse school groups, but also a memorial.

Very charming but very slight.

Both original and good; the problem is the original parts aren't good and the good parts aren't original.

It's a kaleidoscope of ideas that range from exciting to silly and gaudy.

Like his characters, Lin may be an overachiever and the strain of trying to do too much shows. He merges genres the way Ben juggles extracurricular activities.

Serving as his own director of photography under the pseudonym Peter Andrews, Soderbergh picks his angles artfully and allows Carano to demonstrate her arsenal of acrobatic fighting tricks in extended, no-cheating single takes.

The screenplay by Seth Grossman and Israeli-American director Yaron Zilberman is old-fashioned and melodramatic but stirring in its portrait of people struggling with individual egos to produce something nobler than themselves.

A better, and more relevant movie, might have left us at the point of troubled introspection, but Costner is compulsive about tying up loose ends and upbeat messages. If the climax of Open Range is disappointing, the ending is almost intolerable.

As it dips in and out of the boys' lives, and occasionally wanders back to the contemporary Dito surveying the old neighbourhood, Saints never really integrates its two time periods.

As long as Chbosky sticks to the story of surviving high school, Perks has a modest charm. But a melodramatic last-act bombshell about Charlie's troubled past, is jarring – like the giant foot of Godzilla descending to squash tender Bambi. It's a case of too much, too late and, ultimately, from a different kind of movie.

Braff's deadpan performance and dry reactions are deft, and his ability to shape a scene to a punctuation point is impressive, but he's all over the place as a writer.

Like the blues, you feel it first, and think of the meaning later.

One disappointment here is that Patricia Clarkson, the queen of indie film, is missing much of her usual spark. Her performance may be aiming for sensual, but too often it comes across more as listless.

Zathura involves a lot of yelling, a lot of explosions and a lot of flying objects -- but what else would you expect from a movie that is, honestly for a change, intended for 10-year-old boys?

A feisty domestic comedy about a curmudgeon with a heart, looking back over his misspent life.

Though the animation is solid and the writing reasonably clever, Over the Hedge is clearly more about packaging than freshness or substance.

There's an easy familiarity and charm in the creased, middle-aged faces of Nimoy, Shatner and DeForest Kelly (the perpetually irascible Dr. McCoy), all of whom now play their parts with an ever-present twinkle. Their behavior rarely has anything to do with the motives provided by the plot; rather, they wear their characters like old habits, as they boldly go where they've always gone before. [26 Nov. 1986, p.C5]

Without either the effect of a full concert spectacle, or up close and personal backstage intimacy, This Is It is neither one thing nor the other.

Throughout, Dorff is doggedly credible as an obtuse actor, but the richer performance here is from Fanning, and it might have been a stronger movie told from her character's point of view.

Since there's no evidence in the film that Green teaches his students how to compose, improvise or experiment with the music, presumably the next wave will come from somewhere else.

A typical mixture of the artful and the repellent.

It borders on deification. Yet Tupac: Resurrection is still a strong film, with some genuinely revealing insights into the life of its charismatic and paradoxical subject.

A trite but sturdy offering, a showcase for popular young Czech actress Anna Geislerova, as well as the beautiful Moravian countryside, shot in glowing earthy tones.

Kasparov is a compelling film subject: suave, sardonic and as emotionally high-pitched as he is intellectually gifted.

This intimate portrait of the so-called godmother of punk is aimed at viewers who are keenly fascinated by Smith.

This is one of the director's small, experimental, semi-improvised provocations, and if it doesn't push too deep, it's pointed enough to leave a mark.

There are zombie movies and then there are George Romero films.

Apart from its star, though, Emma may be the least convincing Austen adaptation so far.