The result is a mood movie that sweeps you into its infatuation and holds you there.

Bubble is a strong film with a gorgeously minimal script by Coleman Hough. Soderbergh has directed his actors to perfection, rendering them indistinguishable from their roles. And, though the story resorts to sensationalism for its conflict, the film is eloquent in its portrayal of silence, depression, repression, denial and the woes of the Midwestern white working class.

A solid, well-crafted drama, with a tight script, sharp editing, and strong performances by the leads. Beware, however: This is no comedy.

An entertainment success, a triple threat of fresh writing, inspired directing, and, yes, good acting.

Wildly enjoyable look at the fifth-grade ballroom dance competition held annually in New York City.

Through hilarious and charming interviews with the kids, extended chat sessions with Green, a few words from parents, and a healthy dose of performance footage, we get a sense of what sort of community Green has created, for better and worse.

For all of its turgid self-importance, its anthropocentric theater of classical music and sound effects, Deep Blue is a gorgeous film with scene after scene of incredible footage.

Supremely enjoyable.

The result is an experience rich in pleasure and surprise, one that easily stands up to multiple viewings.

One of the powerful things about After Innocence is that, no matter what your position on punitive justice, you can't argue with the film's position.

A fascinating documentary by Bruce's longtime friend Rupert Murray, uses footage taken by both Bruce and Murray to document Bruce's harrowing, enlightening and occasionally hilarious experience. It's a wild ride.

But except for a few missteps, the movie is so beautifully and sensitively rendered in its particulars, in its characterizations of soldiers and officers, and in its dramatization of a nearly miraculous event, that the result is an affecting piece of cinema.

Astonishing if imperfect nature documentary.

The film is rich with real feeling. And Dench's performance is a heartbreaker.

Its characters are complex and engaging, its central mystery pulls the action forward at a clip, and the performances by Paltrow and Davis are excellent. At the same time, it's a little too slick.

An affecting piece of work.

An interesting film, and a good one, with a harrowing performance by Depp, whose apparent enjoyment of the role seems only to increase as his character deteriorates.

In the end, The Producers is an enjoyable romp, and at times--as when Hitler sings "Heil Myself"--it's hilarious. But it's not transcendent.

It's a sweet, silly and not unintelligent romantic comedy: For a period farce, you could do worse.

Bleak, minimal, bone-dry and hilarious, it creates a rich and layered world from deft strokes of dialogue and action.

In many ways, The Devil and Daniel Johnston is a beautiful work, a painstakingly crafted portrait of a talented self-saboteur--a man consistently done in by a vicious mental illness. But it's not as compelling as one would hope.

Smart, patient and ruefully funny... Yet because the film never digs too far into any single person's world, it doesn't build toward much.

Mostly it's just a sweet and lightly funny piece of highbrow piffle, as enjoyable as it is forgettable. There's no harm done, but there's not much else either.

This is the kind of documentary that, though not particularly accomplished by way of direction, writing, or editing, has such a compelling subject that there's no question about its worth.

Watching Cowboy del Amor is like sitting in a room with someone who's making funny racist cracks; you can't help but laugh, but you feel sullied by the implicit collusion. For that reason, the film tips over into the camp of tragedy. Or if it is a comedy, it's the Shakespearean kind, where the marriages at the end are utterly unsettling.

Schreiber's edits gut the story of its power and punch. His film is strong on comedy and farce, enjoyable as a quirky-friendship gag, but it fails in its attempt at tragedy.

3-Iron is at times deliciously sensual, creepily somnolent, whimsically spiritual and disturbingly violent. But it is never quite coherent.

The result is a constant feeling of summary, saddled with four times the usual number of after-school issues. Tamblyn is a treat, playing intelligence and anger, and there are some real moments of connection between characters, but the film is hysterical with self-promotion.