P.J. Hogan Fine casting, genuinely special effects and a keen combination of whimsy and danger make this Peter Pan the one to beat among all previous adaptations of JM Barrie's classic children's fantasy. The technical advances of CGI make the magic of Barrie's tale come alive and the spectacular effects combined with luminous live action create an action-packed Neverland that's both believable and breathtakingly artificial, like a Maxfield Parrish landscape springing vividly to life before your eyes.

More importantly, however, is the fact that director PJ Hogan (whose films include Muriel's Wedding and My Best Friend's Wedding) has taken care to develop a substantial, pre-adolescent affection between the boyish sprite Peter (Jeremy Sumpter) and resourceful London girl Wendy, played by Rachel Hurd-Wood in a marvellous screen debut. This emotional bond—and the mixed blessing of Peter's eternal childhood—is what gives Hogan's Peter Pan it's rich emotional subtext, added to an already bountiful adventure that's equal parts delightful and menacing, especially when the villainous pirate Captain Hook (Jason Isaacs, doubling as Wendy's father) threatens to spoil the fun. With a mischievously dazzling Tinker Bell (played by Swimming Pool's Ludivine Sagnier) and no expense spared on its lavish Australian production, this Peter Pan gets it entirely right by presenting childhood as fun and frightening, in all its wondrous joys and sorrows. —Jeff Shannon

Brett Ratner

Quentin Tarantino "The Bride" (Uma Thurman) gets her satisfaction—and so do we—in Quentin Tarantino's "roaring rampage of revenge," Kill Bill, Vol. 2. Where Vol. 1 was a hyper-kinetic tribute to the Asian chop-socky grindhouse flicks that have been thoroughly cross-referenced in Tarantino's film-loving brain, Vol. 2—not a sequel, but Part Two of a breathtakingly cinematic epic—is Tarantino's contemporary martial-arts Western, fueled by iconic images, music, and themes lifted from any source that Tarantino holds dear, from the action-packed cheapies of William Witney (one of several filmmakers Tarantino gratefully honors in the closing credits) to the spaghetti epics of Sergio Leone. Tarantino doesn't copy so much as elevate the genres he loves, and the entirety of Kill Bill is clearly the product of a singular artistic vision, even as it careens from one influence to another. Violence erupts with dynamic impact, but unlike Vol. 1, this slower grand finale revels in Tarantino's trademark dialogue and loopy longueurs, reviving the career of David Carradine (who plays Bill for what he is: a snake charmer), and giving Thurman's Bride an outlet for maternal love and well-earned happiness. Has any actress endured so much for the sake of a unique collaboration? As the credits remind us, "The Bride" was jointly created by "Q&U," and she's become an unforgettable heroine in a pair of delirious movie-movies (Vol. 3 awaits, some 15 years hence) that Tarantino fans will study and love for decades to come. —Jeff Shannon

Michael Moore's superb documentary (following in the footsteps of Roger & Me and The Big One) tackles a meaty subject: gun control. Moore skillfully lays out arguments surrounding the issue and short-circuits them all, leaving one impossible question: why do Americans kill each other more often than people in any other democratic nation? Moore focuses his quest around the shootings at Columbine High School and the shooting of one 6-year-old by another near his own hometown of Flint, Michigan. By approaching the headquarters of K-Mart (where the Columbine shooters bought their ammo) and going to Charlton Heston's own home, Moore demands accountability from the forces that support unrestricted gun sales in the U.S. His arguments are conducted with the humor and empathy that have made Moore more than just a gadfly; he's become a genuine voice of reason in a world driven by fear and greed. —Bret Fetzer

Rintaro A stunning piece of Japanese animation, Metropolis (2001) gets much of its visual look as well as its storyline less from the Fritz Lang classic than from Osamu Tezuka's comic book adaptation of it. In a style a reminiscent of Little Nemo and TinTin, Lang's dystopian fantasy is tweaked into the story of the doomed robot girl Tima and her love for Kenichi, nephew of a visiting Japanese detective. The city's ruler, Duke Red, needs her to complete his super-weapon, the Ziggurat, and has built her to resemble his dead daughter; the Duke's adopted son Rock is jealous and possessive of his father; and Tima's builder Laughton has agendas of his own. There are chases, riots, conflagrations and duels in the snow; unusually for Japanese animation the backgrounds are as inventively characterised as the characters who move through them. Screenwriter Katsuhiro Otomo and director Rintaro have deservedly moved from cult status to the mainstream on the strength of this film, which merits the epic tag so often attached to less interesting animations. —Roz Kaveney

Throughout his life Edward Bloom(Ewan McGregor) has always been a man of big appetites, enormous passions and tall tales. In his later years, portrayed by five-time Best Actor Oscar nominee Albert Finney (Best Actor in a Supporting Role, Erin Brockovich, 2000), he remains a huge mystery to his son, William (Billy Crudup). Now, to get to know the real man, Will begins piecing together a true picture of his father from flashbacks of his amazing adventures in this margel of a movie.

Jon Favreau Elf is genuinely good. Not just Saturday Night Live-movie good, when the movie has some funny bits but is basically an insult to humanity; Elf is a smartly written, skillfully directed, and deftly acted story of a human being adopted by Christmas elves who returns to the human world to find his father. And because the writing, directing, and acting are all genuinely good, Elf is also genuinely funny. Will Ferrell, as Buddy the adopted elf, is hysterically sincere. James Caan, as his rediscovered father, executes his surly dumbfoundedness with perfect aplomb. Zooey Deschanel, as a department store worker with whom Buddy falls in love, is adorably sardonic. Director Jon Favreau (Swingers) shepherds the movie through all the obligatory Christmas cliches and focuses on material that's sometimes subtle and consistently surprising. Frankly, Elf feels miraculous. Also featuring Mary Steenburgen, Bob Newhart, Peter Dinklage, and Ed Asner as Santa Claus. —Bret Fetzer

Larry Wachowski, Andy Wachowski The opening reels of Matrix Revolutions do nothing to dispel the feeling of exhausted disappointment that set in during the second half of The Matrix Reloaded. There's plenty more talky guff combined with the picking-up of hard-to-remember plot threads as Neo (Keanu Reeves) lies in a coma in the "real" world and is stranded on a tube station in a limbo "beyond the Matrix" while his allies do a reprise of the shooting-their-way-past-the-bodyguards bit from the last film (this time, the baddies can walk on the ceiling). A new Oracle (Mary Alice) makes some pronouncements about the end being near and more things happen—including the evil Agent Smith (Hugo Weaving) manifesting in reality by possessing a minor character and perfidiously blinding our hero, who wears a becoming ribbon over his wounded eyes and perceives the world in an impressive "flaming truth vision".

What about the action? The equivalent of the last film's freeway chase scene is a huge face-off as the Sentinels (robot squids) finally breach the caverns of Zion, "the last human city", and swarm against a battalion of pilot-manipulated giant robots: here, the effects are seamless and the images astonishing, though the fact that none of the major characters are involved and the whole thing goes on so long as if designed to top any previous robot-on-robot screen carnage means that it becomes monotonously amazing, like watching someone else play a great computer game. After a too-easily-managed major realignment of the enmities, the film—and the series—finally delivers a sign-off sequence that's everything you could want as Neo and Smith get into a kung fu one-on-one in a rain-drenched virtual city, flying as high as Superman and Brainiac in smart suits. It comes too late to save the day and the wrap-up is both banal and incoherent, but at least this single combat is a reward for hardy veterans who've sat through seven hours of build-up. —Kim Newman

On the DVD: when the first Matrix DVD was released, with never-before-seen features such as the "Follow the White Rabbit" option, it set a benchmark against which subsequent discs were judged. But neither sequel has lived up to the original's high standards. The Matrix Revolutions two-disc set is an unexceptional package, with a routine "making of" featurette being the main bonus item. Amid all the usual backslapping guff about how great everyone is and what a great time they've all had, it's possible to glean some nuggets of useful information about the baffling plot—though cast and crew can't repress a note of weariness creeping in when discussing the horribly protracted shooting schedule. The feature on the CG Revolution is the most informative for people who like to know how everything was done, and, in the same vein, there's also a multi-angle breakdown of the Super Burly Brawl. A 3-D timeline gives a handy summary of the story so far, and there's a plug for The Matrix Online game. The anamorphic 2.40:1 picture is, of course, a real treat to look at, even if the movie is mostly shades of dark grey and dark green; soundwise the dynamic range of the Dolby Digital surround is extreme: all conversations are conducted in throaty whispers, while the action sequences will push your speakers to the limit. No DTS option, though. And as with Reloaded, there's no audio commentary either: the Wachowski's policy of not talking about their creation begins to seem like a ploy to avoid answering awkward questions. —Mark Walker

David Fincher All films require a certain suspension of disbelief, Fight Club perhaps more than others; but if you're willing to let yourself get caught up in the anarchy, this film, based on the novel by Chuck Palahniuk, is a modern-day morality play warning of the decay of society. Edward Norton is the unnamed protagonist, a man going through life on cruise control, feeling nothing. To fill his hours, he begins attending support groups and 12-step meetings. True, he isn't actually afflicted with the problems, but he finds solace in the groups. This is destroyed, however, when he meets Marla (Helena Bonham Carter), also faking her way through groups. Spiralling back into insomnia, Norton finds his life is changed once again, by a chance encounter with Tyler Durden (Brad Pitt), whose forthright style and no-nonsense way of taking what he wants appeal to our narrator. Tyler and the protagonist find a new way to feel release: they fight. They fight each other, and then as others are attracted to their ways, they fight the men who come to join their newly formed Fight Club. Marla begins a destructive affair with Tyler, and things fly out of control, as Fight Club is transformed into a nationwide fascist group.

The depiction of violence in Fight Club is unflinching, but director David Fincher's film is captivating and beautifully shot, with camerawork and effects that are almost as startling as the script. The movie is packed with provocative ideas and images—from the satirical look at the emptiness of modern consumerism to quasi-Nietzschean concepts of "beyond good and evil"—that will leave the viewer with much food for thought to take away. Pitt and Norton are an unbeatable duo, and the film has a great sense of humour too. Even if it leaves you with a sense of profound discomfort this is a movie that you'll have to see again and again, if for no other reason than to just to take it all in. —Jenny Brown, Amazon.com

Andrew Adamson, Vicky Jenson SHREK: THE STORY SO FAR (4-Disc DVD Collection) is perfect for Shrek fans and gift givers! This super Shrek set gives consumers all of the Shrek movies in one place plus even more of what they love about Shrek with an extra bonus features DVD! It includes the following: "Shrek" (single disc full-frame), "Shrek 3-D" including a collectible lenticular and four sets of 3-D glasses, "Shrek 2" (full frame) and a special bonus disc featuring entertaining exclusives not available in the Shrek 2 DVD/VHS (features subject to change)! There's nearly an hour of entertainment on this disc alone including: Puss In Boots Music Video, Learn How to Burp with Shrek and Fiona, A Making-Of Featurette, "Shrek 2" Around the World, Learn To Draw Shrek, Donkey and Puss In Boots.

Kerry Conran

Yimou Zhang Director Zhang Yimou brings the sumptuous visual style of his previous films (Raise the Red Lantern, Shanghai Triad) to the high-kicking kung fu genre. A nameless warrior (Jet Li, Romeo Must Die, Once Upon a Time in China) arrives at an emperor's palace with three weapons, each belonging to a famous assassin who had sworn to kill the emperor. As the nameless man spins out his story—and the emperor presents his own interpretation of what might really have happened—each episode is drenched in red, blue, white or another dominant color. Hero combines sweeping cinematography and superb performances from the cream of the Hong Kong cinema (Maggie Cheung, Irma Vep, Comrades: Almost a Love Story; Tony Leung Chiu-Wai, In the Mood for Love, Hard Boiled; and Zhang Ziyi, Crouching Tiger, Hidden Dragon). The result is stunning, a dazzling action movie with an emotional richness that deepens with every step. —Bret Fetzer

Sam Raimi More than a few critics hailed Spider-Man 2 as "the best superhero movie ever," and there's no compelling reason to argue—thanks to a bigger budget, better special effects, and a dynamic, character-driven plot, it's a notch above Spider-Man in terms of emotional depth and rich comic-book sensibility. Ordinary People Oscar-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings Spidey 2 to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of Spider-Man 2 is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honouring Spider-Man creators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of Spider-Man 3. —Jeff Shannon

Monty Python's Terry Gilliam (Fear and Loathing in Las Vegas) directs this wild, wild version of the stories of Baron Munchausen, pushing the limits of 1989 special effects technology to bring us such sights as a horse divided in half and running around in two parts, and a giant Robin Williams with his head flying off his shoulders. Basically, this is a treat for Gilliam fans, as the sustaining idea of the film runs out of steam, and manic energy alone keeps the momentum going. Casual viewers might find it tedious after awhile. There are nice parts for fellow Python Eric Idle, as well as Sting, Alison Steadman, and Uma Thurman as a dazzlingly beautiful Venus on a half-shell. Gilliam had greater artistic and commercial success with Brazil, The Fisher King and 12 Monkeys. —Tom Keogh

Kôji Morimoto, Mahiro Maeda, Andy Jones (VI), Shinichirô Watanabe, Peter Chung

Tim Story Fantastic Four is a light-hearted and funny take on Marvel Comics' first family of superherodom. It begins when down-on-his-luck genius Reed Richards (Ioan Gruffudd) has to enlist the financial and intellectual help of former schoolmate and rival Victor Von Doom (Julian McMahon) in order to pursue outer-space research involving human DNA. Also on the trip are Reed's best friend, Ben Grimm (Michael Chiklis); his former lover, Sue Storm (Jessica Alba), who's now Doom's employee and love interest; and her hotshot-pilot brother, Johnny Storm (Chris Evans). Things don't go as planned, of course, and the quartet becomes blessed—or is it cursed?—with superhuman powers: flexibility, brute strength, invisibility and projecting force fields, and bursting into flame. Meanwhile, Doom himself is undergoing a transformation.

Among the many entries in the comic-book-movie frenzy, Fantastic Four is refreshing because it doesn't take itself too seriously. Characterization isn't too deep, and the action is a bit sparse until the final reel (like most "first" superhero movies, it has to go through the "how did we get these powers and what we will do with them?" churn). But it's a good-looking cast, and original comic-book co-creator Stan Lee makes his most significant Marvel-movie cameo yet, in a speaking role as the FF's steadfast postal carrier, Willie Lumpkin. Newcomers to superhero movies might find the idea of a family with flexibility, strength, invisibility, and force fields a retread of The Incredibles, but Pixar's animated film was very much a tribute to the FF and other heroes of the last 40 years. The irony is that while Fantastic Four is an enjoyable B-grade movie, it's the tribute, The Incredibles, that turned out to be a film for the ages. —David Horiuchi, Amazon.com

Corey Yuen, Louis Leterrier

An elite U.S. counter-terrorism squad loses a member while decimating half of Paris in the reckless pursuit of Middle Eastern maniacs; a Broadway actor with a traumatic childhood secret is naturally hired to replace him. Oh—and they're all marionettes. South Park maestros Trey Parker and Matt Stone (along with co-writer Pam Brady) came up with this shameless satire of pea-brained Hollywood action flicks and even smaller-minded global politics, so don't expect subtlety or even a hint of good taste. Team America is soon on the trail of North Korea's evil Kim Jong Il, who treats us to a tender song about his loneliness before ensnaring Alec Baldwin and the rest of the oblivious Film Actors Guild (F.A.G. for short) in a plot to blow up every major city on the planet. Just as the mindless squad cheerfully demolishes everything in sight, so do director Parker and company. Throwing punches Left, Right, and in-between, the movie's politics leave no turn un-stoned; there's even time to bludgeon the musical Rent. It's offensive, irresponsible comic anarchy seemingly made by sniggering little boys. Painfully funny sniggering little boys.—Steve Wiecking

Mel Gibson After all the controversy has subsided, Mel Gibson's The Passion of the Christ will remain a force to be reckoned with. In the final analysis, "Gibson's Folly" is an act of personal bravery and commitment on the part of its director, who self-financed this $25-30 million production to preserve his artistic goal of creating The Passion of Christ ("Passion" in its original context meaning "suffering") as a quite literal, in-your-face interpretation of the final 12 hours in the life of Jesus, scripted almost directly from the Gospels (and spoken in Aramaic and Latin with a relative minimum of subtitles) and presented as a relentless, 126-minute ordeal of torture and crucifixion. For Christians and non-Christians alike, this film does not "entertain" and it's not a film that one can "like" or "dislike" in any conventional sense. (It is also emphatically not a film for children or the weak of heart.) Rather, The Passion is a cinematic experience that serves an almost singular purpose: to show the scourging and death of Jesus Christ in such horrifically graphic detail (with Gibson's own hand pounding the nails in the cross) that even non-believers may feel a twinge of sorrow and culpability in witnessing the final moments of the Son of God, played by Jim Caviezel in a performance that's not so much acting as a wilful act of submission, so intense that some will weep not only for Christ, but for Caviezel's unparalleled test of endurance.

If one judges what is on the screen (so gloriously served by John Debney's score and Caleb Deschanel's cinematography), there is fuel for debate about the film's alleged anti-Semitic slant but no obvious malice aforethought; the Jews under Caiphas are just as guilty as the barbaric Romans who carry out the execution, especially after Gibson excised (from the subtitles, if not the soundtrack) the film's most controversial line of dialogue. If one accepts that Gibson's intentions are sincere, The Passion can be accepted for what it is: a gruelling, straightforward (some might say unimaginative) and extremely violent depiction of The Passion, guaranteed to render devout Christians speechless while it intensifies their faith. Non-believers are likely to take a more dispassionate view, and some may resort to ridicule. But one thing remains undebatable: with The Passion of the Christ, Gibson puts his money where his mouth is. You can praise or damn him all you want, but you've got to admire his chutzpah. —Jeff Shannon

Luc Besson Over the years, many film directors have attempted to tell the story of legendary 15th-century heroine Joan of Arc, a simple country girl who claimed she was inspired by God to lead the French troops in a victorious assault on the mighty English army. Luc Besson's 1999 epic might not be the best version of her life, but it's certainly the biggest. The movie cost a reported $60 million. Even if you are terminally unimpressed by the scale of such recent blockbusters as Gladiator, your eyes will pop out at the sheer number of bodies (living and dead) that Besson has assembled for the dynamic battle scenes. The lavish sets and costumes are almost equally gobsmacking, though neither will show to maximum advantage on the small screen. That's a pity because size is the only thing Joan of Arc really has going for it—as a human drama, it falls completely flat.

The historical Joan was eventually made a saint by the Catholic Church, and earlier biopics tended to treat her celestial visions as literal fact. It was probably a mistake for Besson and his co-screenwriter Andrew Birkin to take a more psychological approach and present them as figments of her hysterical imagination. It makes it hard to work up the necessary empathy when the spectacle revolves around a confused and neurotic babe who couldn't organise a Tupperware party, let alone a vast military campaign. Milla Jovovich (the star of Besson's previous The Fifth Element and formerly his wife) doesn't help matters with her shrill and amateurish performance. But a couple of the supporting players are passably amusing—John Malkovich camps it up energetically as Charles, the dispossessed French king whom Joan reinstates, while Faye Dunaway wears outlandish headgear and carries on like a science-fiction creation in the role of his scheming mother-in-law. (The less said the better about Dustin Hoffman's pompous turn as Joan's personified conscience.) Besson keeps to the same glossy visual style even when the Maid is burning at the stake, but it isn't enough to prevent this empty shell of a movie from being a colossal yawn. —Peter Matthews

To anyone who truly understands what it means to be an American, Michael Moore's Fahrenheit 9/11 should be seen as a triumph of patriotic freedom. Rarely has the First Amendment been exercised with such fervor and forthrightness of purpose: After subjecting himself to charges of factual errors in his gun-lobby exposé Bowling for Columbine, Moore armed himself with a platoon of reputable fact-checkers, an abundance of indisputable film and video footage, and his own ironically comedic sense of righteous indignation, with the singular intention of toppling the war-ravaged administration of President George W. Bush. It's the Bush presidency that Moore, with his provocative array of facts and figures, blames for corporate corruption, senseless death, unnecessary war, and political favoritism toward Osama Bin Laden's family and Saudi oil partners following the terrorist attacks of September 11, 2001. Moore's incendiary film earned Palme d'Or honors at Cannes and a predictable legion of detractors, but do yourself a favor: Ignore those who condemn the film without seeing it, and let the facts speak for themselves. By honoring American soldiers and the victims of 9/11 while condemning Bush's rationale for war in Iraq, Fahrenheit 9/11 may actually succeed in turning the tides of history. —Jeff Shannon

Peter Segal 50 First Dates is a sweet-natured vehicle for sweet-natured stars Adam Sandler and Drew Barrymore, and their track record with The Wedding Singer no doubt factors in its lowbrow appeal. But while the well-matched lovebirds wrestle with a gimmicky plot (she has no short-term memory, so he has to treat every encounter as their first), director Peter Segal (who directed Sandler in Anger Management) ignores the intriguing potential of their predicament (think Memento meets Groundhog Day) and peppers the proceedings with the kind of juvenile humour that Sandler fans have come to expect. The movie sneaks in a few heartfelt moments amidst its inviting Hawaiian locations, and that trained walrus is charmingly impressive, but you can't quite shake the feeling that too many good opportunities were squandered in favour of easy laughs. Like Barrymore's character, you might find yourself forgetting this movie shortly after you've seen it. —Jeff Shannon

Brian Helgeland

Don't panic! After twenty years stuck in development (a mere blink compared to how long it takes to find the answer to life, the universe, and everything), The Hitchhiker's Guide to the Galaxy has finally been turned into a movie. Following the radio play, TV series, commemorative towel, and books, this latest installment in the sci-fi-comedy franchise is based on the screenplay and detailed notes by Douglas Adams. For those unfamiliar with the story, everyman Arthur Dent (Martin Freeman) wakes up one morning to discover that his house is set to be demolished to make room for a bypass. Little does he know the entire planet Earth is also set to be destroyed for an interplanetary bypass by the Vogons, a hideous and bureaucratic race of aliens realized in the film by Jim Henson's Creature Shop. Whisked off the planet by his best friend, alien-in-disguise Ford Prefect (Mos Def), Dent embarks on a goofy jaunt across the galaxy accompanied by his trusty Hitchhiker's Guide, which looks like a really fancy PDA. The guide itself provides some of the funniest bits of the movie, little animated shorts that explain the ludicrous life forms and extraterrestrial phenomena our heroes encounter. Along the way Arthur meets the two-headed party animal/president of the galaxy Zaphod Beeblebrox (Sam Rockwell) and develops an unrequited crush on fellow earthling Trillian (Zooey Deschanel). The creatures and sets are inspired and answer to the sci-fi fan's primal need to see lots and lots of cool stuff. Where the story stumbles is in the telling—as books, the Hitchhiker's Guide was foremost about goofy and brilliant ideas that raised questions about our place in the universe while getting a laugh. The movie has enough trouble figuring out how to get the characters from one fantastical location to the next that Adams's funniest concepts often feel left in the dust. While the reverence the filmmakers felt toward Adams's legacy is apparent, one wonders what we could have expected had the creator of this science fiction universe lived to see it with his own eyes. —Ryan Boudinot, Amazon.com

Kevin Smith The "sophmore jinx" hit hard for this second film by Kevin Smith, whose debut Clerks transcended the limits of its setting and budget to become memorably funny and a cult classic. (Smith followed Mallrats with the wonderful Chasing Amy, only to be cursed again with the appalling Dogma. Clearly he's settling into the same one-off rhythm that afflicts the Star Trek movies.) A ramshackle comedy set in a mall, Mallrats follows several storylines involving lovers, enemies, friends, goofballs, and Smith's own character "Silent Bob", who also appeared in all the other Smith films. A heavy self-consciousness weighs on everything, as if Smith forgot how to make obscenity funny instead of tedious. Still, it's nice to see some of the director's film family on screen, among them Ben Affleck before he was famous, Jason Lee and Joey Lauren Adams. —Sally Chatsworth

Larry Wachowski, Andy Wachowski The Matrix Reloaded delivers added amounts of everything that the first film had, with the exception of surprises. We see more of the "real world" in the "last human city" of Zion and we go back to the 1999-look urban virtual reality of the Matrix for more encounters with artificially-intelligent baddies and—the real reason you've turned up—a lot more martial arts superheroics.

The downside is that this is just part one of a two-pack of sequels, with Revolutions required to tie up the story and sort out a great deal of plot confusion. There are other problems: none of the stars have much good material to work with outside the fights and stunts, which makes the film sorely miss the mix of science fiction thrills and character interplay of the original instalment.

However, the Wachowski Brothers still deliver more than enough stand-alone instant classic action sequences to make you ignore their duff script: in particular, Reeves and Hugo Weaving square off in a rumble that gets dicey, as more and more identical Weavings come out of the woodwork to pile on the lone hero; and a full quarter of an hour is devoted to a chase through the Matrix that lets Laurence Fishburne shoulder the heroic business. A last-reel encounter with a virtual God, the architect of the Matrix, finally delivers some major plot advances, but the scene is so brilliantly shot and designed—with Reeves framed against a wall of TV screens that show multiple versions of himself—that it's easy to be distracted by the decor and miss the point of what's being said. —Kim Newman

On the DVD: The Matrix Reloaded two-disc set amazingly has very little in-depth stuff on this physically impressive movie; there's not even a commentary track. Perhaps the Wachowski Brothers want to keep their enigmatic aura, or perhaps there's a better DVD coming after the trilogy ends? Best here is the 30-minute feature on the incredible freeway chase: here you get the inside scoop on how the titanic 12-minute sequence was put together. There's plenty of material on the second disc, but it's just filler, with the actors talking about how great it is to work again with the Matrix team and plenty of quick edits of explosions and other "cool" things. There's a segment on product placement, 30 minutes on how the video game was created and the MTV Movie Awards parody. The features feel more like pre-movie hype than post-film deconstruction. Dolby 5.1 sound is suitably spectacular—but there's no DTS option—and the super-wide 2.40:1 picture is, of course, pin-sharp, bringing out all the lavish detail and highlighting the contrast between the green-hued Matrix and the grimy grey real world. —Doug Thomas

Antoine Fuqua It's got a round table, some knights, and a noble warrior who rises to become King Arthur, but everything else about this revisionist legend is pure Hollywood. That's not such a bad thing if you enjoyed Rob Roy, Braveheart, Gladiator and Troy, and there's some intriguing potential in presenting the "real" Arthur (played by Clive Owen) as a 5th-century soldier of Rome, assigned to defend Roman-imperial England against a hoard of invading Saxons (led by Stellan Skarsgard in hairy villain mode). As revamped history and "archaeological findings" would have us believe, Guinevere (Keira Knightley) is a warrior babe in face-paint and Lancelot (Ioan Gruffudd) is a nonentity who fades into the woodwork. Never mind. Best to enjoy the harsh, gloomy atmosphere of Irish locations, the ruggedness of Owen and his hearty supporting cast, and the entertaining nonsense of a Jerry Bruckheimer production that strips battle-ready Guinevere down to leather-strap S&M gear while all the men sport full-body armor. Hail to the queen, indeed! —Jeff Shannon

The adventures of pint-sized secret agents Juni and Carmen Cortes (Daryl Sabara and Alexa Vega) continue. As Spy Kids 3-D: Game Over opens, Juni has left the spy agency and launched a career as a private detective—but when he learns that his sister Carmen has disappeared into a nefarious multi-user computer game, he agrees to go in after her, with the assistance of his grandfather (Ricardo Montalban). Three-dimensional special effects launch us into a topsy-turvy world of battling robots, souped-up motorcycle races, frogs on pogo sticks, surfing on hot lava, and much, much more. The story is even more incoherent than an actual computer game—but the movie storms along, driven by writer/director/editor/everything-else Robert Rodriguez's sheer visual enthusiasm. Featuring Sylvester Stallone, Antonio Banderas, Carla Gugino, and everyone else who appeared in the first two Spy Kids movies. —Bret Fetzer

Jim Jarmusch Celebrated writer-director Jim Jarmusch (Mystery Train) serves up this witty and intoxicating brew that s as addictive as caffeine (Richard Roeper Ebert & Roeper and the Movies ) and as buzzy and ephemeral as well coffee and cigarettes (LA Weekly)! Sneakily delirious [and] way cool (Time) this funny cluster of eleven stories (Rolling Stone) delivers inspired eccentric match-ups (The Hollywood Reporter) from an incredible all-star cast making Coffee and Cigarettes an absolute must for fans of film fun and fantastic wit!Special Features:Theatrical Trailer Tabletops Bill Murray OuttakeTaylor Mead InterviewSystem Requirements: Running Time 97 MinFormat: DVD MOVIE Genre: COMEDY Rating: R UPC: 027616911711 Manufacturer No: 1007030

Kevin Smith

Larry Wachowski, Andy Wachowski By following up their debut thriller Bound with the 1999 box-office smash The Matrix, the co-directing Wachowski brothers—Andy and Larry—annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action and adventure fans alike. Although the film is headlined by Keanu Reeves and Laurence Fishburne—who both turn in fine performances—much of the fun and excitement should be attributed to Carrie-Anne Moss, whose Trinity flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semi-psychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise. —Jeremy Storey

In the Box Set: That this Collector's Edition should appear less than a year after The Matrix's first DVD release indicates the degree to which the film has become an instant classic and set the initial benchmark for DVD quality and extra features. The chunky black box (about the size of the yellow pages) houses a slide-out tray containing the DVD, eight original lobby cards, an original one-sheet movie poster, six black and white photographs and a movie image card with the corresponding 35mm film frame attached. As with all such sets the whole is rapidly diminished by removing its parts, presenting the dilemma of whether to mount the poster and pictures, or leave them pristine but unseen in their original state.

The DVD included is the same version available individually, including extensive behind-the-scenes features on the film's special effects. Contrary to the advertised contents, however, the disc does not contain the audio commentaries by Carrie-Anne Moss, editor Zach Staenberg and visual effects supervisor John Gaeta, or the music-only audio track with commentary by composer Don Davis (all of which are currently only available on the American version). —Steve Napleton

Michael Lindsay-Hogg What started as a suggestion for Paul Simon to play a concert in New York's Central Park blossomed, on September 19, 1981, into a full-blown Simon and Garfunkel reunion after an 11-year hiatus, and now proves a priceless snapshot of two of America's greatest folk-rock performers. (It's also the rightful bookend to Simon and Garfunkel's acoustic Live from New York City, 1967.) Performed with a who's-who of East Coast session aces before a record-setting crowd of half-a-million fans, the Concert in Central Park finds its stars just shy of their 40th birthdays and very much in their primes, their voices sweet and pure and their playing relaxed, perfectly in tune and in synch.

The show features a mix of S&G and solo Simon tunes, including all the songs that appear on the CD, with the addition of a reprise of "Late in the Evening" and the first live performance of Simon's "The Late Great Johnny Ace". This is classic material from start to finish, 87 minutes of unmitigated beauty. —Michael Mikesell

Alfonso Cuarón Some movie-loving wizards must have cast a magic spell on Harry Potter and the Prisoner of Azkaban, because it's another grand slam for the Harry Potter franchise. Demonstrating remarkable versatility after the arthouse success of Y Tu Mamá También, director Alfonso Cuarón proves a perfect choice to guide Harry, Hermione, and Ron into treacherous puberty as the now 13-year-old students at Hogwarts School of Witchcraft and Wizardry face a new and daunting challenge: Sirius Black (Gary Oldman) has escaped from Azkaban prison, and for reasons yet unknown (unless, of course, you've read J.K. Rowling's book, considered by many to be the best in the series), he's after Harry in a bid for revenge. This dark and dangerous mystery drives the action while Harry (the fast-growing Daniel Radcliffe) and his third-year Hogwarts classmates discover the flying hippogriff Buckbeak (a marvelous CGI creature), the benevolent but enigmatic Professor Lupin (David Thewlis), horrifying black-robed Dementors, sneaky Peter Pettigrew (Timothy Spall), and the wonderful advantage of having a Time-Turner just when you need one. The familiar Hogwarts staff returns in fine form (including the delightful Michael Gambon, replacing the late Richard Harris as Dumbledore, and Emma Thompson as the goggle-eyed Sybil Trelawney), and even Julie Christie joins this prestigious production for a brief but welcome cameo. Technically dazzling, fast-paced, and chock-full of Rowling's boundless imagination (loyally adapted by ace screenwriter Steve Kloves), The Prisoner of Azkaban is a Potter-movie classic. —Jeff Shannon

Ending the most popular film epic in history, Star Wars: Episode III, Revenge of the Sith is an exciting, uneven, but ultimately satisfying journey. Picking up the action from Episode II, Attack of the Clones as well as the animated Clone Wars series, Jedi Master Obi-Wan Kenobi (Ewan McGregor) and his apprentice, Anakin Skywalker (Hayden Christensen), pursue General Grievous into space after the droid kidnapped Supreme Chancellor Palpatine (Ian McDiarmid).
The Star Wars Family Tree (click for larger image) It's just the latest maneuver in the ongoing Clone Wars between the Republic and the Separatist forces led by former Jedi turned Sith Lord Count Dooku (Christopher Lee). On another front, Master Yoda (voiced by Frank Oz) leads the Republic's clone troops against a droid attack on the Wookiee homeworld of Kashyyyk. All this is in the first half of Episode III, which feels a lot like Episodes I and II. That means spectacular scenery, dazzling dogfights in space, a new fearsome villain (the CGI-created Grievous can't match up to either Darth Maul or the original Darth Vader, though), lightsaber duels, groan-worthy romantic dialogue, goofy humor (but at least it's left to the droids instead of Jar-Jar Binks), and hordes of faceless clone troopers fighting hordes of faceless battle droids.

But then it all changes.
Star Wars Time Line (click for larger image)

After setting up characters and situations for the first two and a half movies, Episode III finally comes to life. The Sith Lord in hiding unleashes his long-simmering plot to take over the Republic, and an integral part of that plan is to turn Anakin away from the Jedi and toward the Dark Side of the Force. Unless you've been living under a rock the last 10 years, you know that Anakin will transform into the dreaded Darth Vader and face an ultimate showdown with his mentor, but that doesn't matter. In fact, a great part of the fun is knowing where things will wind up but finding out how they'll get there. The end of this prequel trilogy also should inspire fans to want to see the original movies again, but this time not out of frustration at the new ones. Rather, because Episode III is a beginning as well as an end, it will trigger fond memories as it ties up threads to the originals in tidy little ways. But best of all, it seems like for the first time we actually care about what happens and who it happens to.

Episode III is easily the best of the new trilogy—OK, so that's not saying much, but it might even jockey for third place among the six Star Wars films. It's also the first one to be rated PG-13 for the intense battles and darker plot. It was probably impossible to live up to the decades' worth of pent-up hype George Lucas faced for the Star Wars prequel trilogy (and he tried to lower it with the first two movies), but Episode III makes us once again glad to be "a long time ago, in a galaxy far, far away." —David Horiuchi

The Complete Star Wars Saga
Episodes 4-6 Trilogy (widescreen)
Episode I: The Phantom Menace
Episde II: Attack of the Clones
Star Wars: Clone Wars Vol. 1
Star Wars: Clone Wars Vol. 2
The Star Wars Store

Stills from Episode III: Revenge of the Sith (click for larger images)

Anakin turning to the dark side
When Wookiees attack
Yoda, Jedi master
Mr. and Mrs. Vader
Saber training with Ewan McGregor and Hayden Christensen
The cast

Brad Silberling For anyone who has lost a loved one, Moonlight Mile will ring true with heartfelt emotion. Like the characters in this well-acted film, writer-director Brad Silberling confronted death when his girlfriend, actress Rebecca Schaeffer, was murdered in 1989. That tragedy gives Moonlight Mile its mournful authenticity, beginning in 1973 after the killing of a young woman whose fiancé, Joe (Jake Gyllenhaal), is living with her grieving parents (Dustin Hoffman, Susan Sarandon) while contemplating his uncertain future. The film is occasionally sidetracked by Hollywood slickness, but Silberling (who scored box-office hits with Casper and City of Angels) gets the emotional details exactly right, and a potentially formulaic romance between Joe and a local girl (superbly played by newcomer Ellen Pompeo) feels like a natural step toward recovery. Holly Hunter plays a small but pivotal role, and while Moonlight Mile lacks the gravity of the dramatically similar In the Bedroom, it springs from the same source of compassionate understanding. —Jeff Shannon

Shawn Levy Pretty Brittany Murphy and prettier Ashton Kutcher make a surprisingly enjoyable comic team in Just Married, a romantic comedy about a horrible honeymoon. After a whirlwind romance, radio traffic announcer Kutcher and rich girl Murphy get married over the objections of her upper-crust family. Their love can overcome snobbery—but as the cuddly pair start to drive each other nuts over mishaps travelling through Europe, it starts to look like their love can't overcome intimacy. Just Married has a sprightly script that keeps one foot on the ground (unlike some recent romantic comedies that seem to have no connection to reality) and one eye on the small ways in which lovers can get on each other's nerves. Kutcher and Murphy have a sweet yet volatile chemistry that keeps the antics lively. —Bret Fetzer

Steven Spielberg History will place an asterisk next to A.I. as the film Stanley Kubrick might have directed. But let the record also show that Kubrick—after developing this project for some 15 years—wanted Steven Spielberg to helm this astonishing sci-fi rendition of Pinocchio, claiming (with good reason) that it veered closer to Spielberg's kinder, gentler sensibilities. Spielberg inherited the project (based on the Brain Aldiss short story "Supertoys Last All Summer Long") after Kubrick's death in 1999, and the result is an astounding directorial hybrid. A flawed masterpiece of sorts, in which Spielberg's gift for wondrous enchantment often clashes (and sometimes melds) with Kubrick's harsher vision of humanity, the film spans near and distant futures with the fairy-tale adventures of an artificial boy named David (Haley Joel Osment), a marvel of cybernetic progress who wants only to be a real boy, loved by his mother in that happy place called home.

Echoes of Spielberg's Empire of the Sun are evident as young David, shunned by his trial parents and tossed into an unfriendly world, is joined by fellow "mecha" Gigolo Joe (played with a dancer's agility by Jude Law) in his quest for a mother-and-child reunion. Parallels to Pinocchio intensify as David reaches "the end of the world" (a Manhattan flooded by melted polar ice caps), and a far-future epilogue propels A.I. into even deeper realms of wonder, just as it pulls Spielberg back to his comfort zone of sweetness and soothing sentiment. Some may lament the diffusion of Kubrick's original vision, but this is Spielberg's A.I., a film of astonishing technical wizardry that spans the spectrum of human emotions and offers just enough Kubrick to suggest that humanity's future is anything but guaranteed. —Jeff Shannon, Amazon.com

On the DVD: A perfect movie for the digital age, A.I. finds a natural home on DVD. The purity of the picture, its carefully composed colour schemes and the multifarious sound effects are accorded the pin-point sharpness they deserve with the anamorphic 1.85:1 picture and Dolby 5.1 sound, as is John Williams's thoughtful music score. On the first disc there's a short yet revealing documentary, "Creating A.I.", but the meat of the extras appears on disc two. Here there are good, well-made featurettes on acting, set design, costumes, lighting, sound design, music and various aspects of the special effects: Stan Winston's remarkable robots (including Teddy, of course) and ILM's flawless CGI work. In addition there are storyboards, photographs and trailers. Finally, Steven Spielberg provides some rather sententious closing remarks ("I think that we have to be very careful about how we as a species use our genius"), but no director's commentary. —Mark Walker

Antonia Bird When was the last time you saw a new movie set during the 1840s? The era is the first oddball thing about Ravenous, though by no means the last. This provocatively weird movie is essentially a vampire film except that instead of drinking blood the baddies eat flesh. The setting here is Fort Spencer, a dismal collection of shacks huddled in the snows of the Sierra Nevada mountains. Mid-winter, a nearly dead Scotsman (Robert Carlyle, of Trainspotting and The Full Monty fame) staggers into camp with a story of desperate cannibalism. The skeleton crew (so to speak) manning the fort sets out to investigate, when... ah, but the twists and turns of this dark yarn should remain shocking. Be assured, however, that the cannibalism has just begun; this movie has cannibalism like Titanic had an iceberg. British director Antonia Bird (Priest) blends some humour into this scenario, especially in the final reels, but otherwise this is a fairly serious gore picture; the studio who released this film tried to market it as a black comedy, and the movie flopped anyway. It deserves a better fate—at the very least, it's not quite like anything else out there. The soundtrack a brilliant collaboration between Michael Nyman (The Piano) and Blur's Damon Albarn, is an offbeat blend of period twang and modern drone. Carlyle and Guy Pearce (of L.A. Confidential and the Aussie soap Neighbours) are fascinating in the lead roles—their sunken faces would look at home in Civil War photographs—and the eccentric supporting cast, including Jeremy Davies and David Arquette, adds flavour to the dish. —Robert Horton, Amazon.com

Michel Gondry This fascinating comedy questions what we mean when we use words like "nature" and "civilization." Lila (Patricia Arquette, Lost Highway, True Romance), a nature writer who grows hair all over her body, falls in love with Nathan (Tim Robbins, The Player, The Hudsucker Proxy), a scientist attempting to teach table manners to mice. While hiking in the woods, they discover Puff (Rhys Ifans, Notting Hill), a man raised in the wild since childhood, whom Nathan seizes as a test subject for his experiments—and soon these three, along with Nathan's French lab assistant (Miranda Otto) are embroiled in criss-crossed love affairs as they (and the audience) attempt to figure out what it means to be true to one's own nature. Though Human Nature isn't as surefooted as Being John Malkovich (which was also written by distinctive screenwriter Charlie Kaufman), it has moments of startling comic genius. —Bret Fetzer

Chris Weitz, Paul Weitz The film version of Nick Hornby's novel About a Boy takes a deeper though no less entertaining approach than the easy laughs of Fever Pitch and High Fidelity. The "coming together" of idle playboy Will (Hugh Grant) and put-upon loner Marcus (Nicholas Hoult) is a revealing tale of self-understanding and role reversal. Will finds that being yourself is of little consequence without a defining human context, while Marcus finds that pleasing others counts for little without a degree of self-confidence. How they arrive at this complementary awareness is the intriguing subject matter of the film, involving well-meaning single mothers, difficult adolescents and helpless older adults. Yet there's a wider significance to all this in the guise of human stereotypes—how we fall into them and how we can try to get out of them.

The film's wit and amusement comes down to deft and understated directing from Chris and Paul Weitz, and a snappily crafted screenplay from Peter Hedges and the Weitz brothers. Grant clips his hair as well as his vowels for a believable and ultimately sympathetic Will—by far his best performance since Four Weddings and a Funeral. As Marcus, Hoult is convincingly self-dependent, but could have been even more self-absorbed. Toni Colette is a dead-ringer for the well-meaning but ineffectual hippie mother Fiona, while Rachel Weisz gives her best screen performance to date as the attractive and vulnerable Rachel, with whom Will comes of age emotionally. Badly Drawn Boy's soundtrack will delight those who enjoy his brand of reconstituted 1970s Dylan; the title track has a wistful charm and there's a gem of an instrumental in the "Countdown" sequence. About a Boy is in the best traditions of British comedy: enlightening as it amuses, it's a film to enjoy and come back to. —Richard Whitehouse

Sam Raimi The action comes thick and fast in Spider-Man—The Ultimate Villain Showdown as the web-slinging hero faces a host of fearsome foes, not least of which is his own torturous self-doubt. Kingpin, Dr Octopus and the Green Goblin all put in spirited performances in these animated tales from the 1990s, while a flashback to Spider-Man's origins ties the action together neatly.

The writing is somewhat heavy-handed in places and the animation cranky, but the four featured episodes are pacy, the villains suitably evil and a hint of darkness lends a pleasing frisson to the drama.

On the DVD: there's limited bonus material on the DVD but what's there is generally worthwhile and entertaining. In addition to an extra episode, "Return of the Green Goblin", a "Rogues Dossier" gives an interactive guide to Spider-Man's foes with statistics, trivia and video interviews with our hero's creator Stan Lee. Lee crops up again in the highlight of the bonus material, "Stan Lee's Soapbox", an engaging 20-minute insight into all things Spidey from a man who obviously loves his job. —Helen Baker

Edward Zwick The Last Samurai gives epic sweep to an intimate story of cultures at a crossroads as Japan undergoes tumultuous transition to a more Westernised society in 1876-77. In America, tormented Civil War veteran Captain Nathan Algren (Tom Cruise) is coerced by a mercenary officer (Tony Goldwyn) to train the Japanese Emperor's troops in the use of modern weaponry. Opposing this "progress" is a rebellion of samurai warriors, holding fast to their traditions of honour despite strategic disadvantage. As a captive of the samurai leader (Ken Watanabe), Algren learns, appreciates, and adopts the Samurai code, switching sides for a climactic battle that will put everyone's honour to the ultimate test.

All of which makes director Edward Zwick's noble epic eminently worthwhile, even if its Hollywood trappings (including an all-too-conventional ending) prevent it from being the masterpiece that Zwick and screenwriter John Logan clearly wanted it to be. Instead, The Last Samurai is an elegant mainstream adventure, impressive in all aspects of its production. It may not engage the emotions as effectively as Logan's script for Gladiator, but like Cruise's character, it finds its own quality of honour. —Jeff Shannon

Elijah Wood

Brad Silberling

Keith Gordon If you can pull the 2003 film version of The Singing Detective out from under the long shadow cast by the acclaimed 1986 miniseries, Keith Gordon's 109-minute film version achieves its own distinction. It was a daring (and some might say foolhardy) assignment to film Dennis Potter's screenplay, written out of Potter's desire to see his semi-autobiographical drama in feature-length form, but Gordon rose to the occasion with a superlative cast led by Robert Downey Jr, intense as ever as Potter's on-screen alter ego. Bedridden with an excruciating case of skin-rotting psoriasis, pulp novelist Dan Dark (Downey) escapes into his vivid imagination, where gunmen and gumshoes pursue their pulpy agenda, casting himself as the titular "warbler" whose pain and anger is focused like a laser on his cheating wife (Robin Wright Penn) and anyone else who's made his real and imaginary worlds unbearable. Coproducer Mel Gibson appears under heavy makeup as Dark's condescending psychiatrist, and supporting roles are played with stylish flair by Adrien Brody, Katie Holmes, Jeremy Northam, Carla Gugino and others. While many critics called this a noble failure, The Singing Detective captures the essence of Potter's story, offering a welcome alternative to the acknowledged superiority of the miniseries. —Jeff Shannon

Quentin Tarantino's Kill Bill, Vol. 1 is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain—and this frequently breathtaking movie—with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)—including Lucy Liu and the unseen David Carradine (as Bill)—who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. —Jeff Shannon

To honor a childhood oath, three friends (Seth Green from Austin Powers and Party Monster, Matthew Lillard from SLC Punk and Scooby Doo, and newcomer Dax Shepard) head into the Oregon wilderness in search of lost treasure. After grappling with a bear, whitewater rapids, backwoods psychopaths, beautiful eco-terrorists, homophobia, and a very hairy Burt Reynolds, the boys face their fears and learn valuable life lessons about treasuring friendship and stuff. Dude, it's totally, like, Deliverance for the Gen-Y slacker set! Admittedly, it falls a bit short as a meditation on masculinity, but teen audiences will find plenty to enjoy. The interplay among Green, Lillard, and Shepard has a rambunctious enthusiasm that overcomes the predictability of the script. —Bret Fetzer

Len Wiseman Underworld is a hybrid thriller that rewrites the rulebook on werewolves and vampires—imagine Blade meets The Crow and The Matrix. It's a "cuisinart" movie (blend a lot of familiar ideas and hope something interesting happens) in which immortal vampire "death dealers" wage an ancient war against "Lycans" (werewolves), who've got centuries of revenge—and some rather ambitious genetic experiments—on their lycanthropic agenda. Given his preoccupation with gloomy architecture (mostly filmed in Budapest, Hungary), frenetic mayhem and Gothic costuming, it's no surprise that first-time director Len Wiseman gained experience in TV commercials and the art departments of Godzilla, Men in Black and Independence Day. His work is all surface, no substance, filled with derivative, grand-scale action as conflicted vampire Selene (Kate Beckinsale, who later became engaged to Wiseman) struggles to rescue an ill-fated human (Scott Speedman) from Lycan transformation. It's great looking all the way, and a guaranteed treat for horror buffs, who will eagerly dissect its many strengths and weaknesses. —Jeff Shannon

James McTeigue

Kevin Smith Writer-director Kevin Smith (Clerks) makes a huge leap in sophistication with this strong story about a comic-book artist (Ben Affleck) who falls in love with a lesbian (Joey Lauren Adams) and actually gets his wish that she love him, too. Their relationship is attacked, however, by his business partner (Jason Lee), who pulls a very unsubtle Iago act to cast doubt over the whole affair. The film has the same sense of insiderness as Clerks—this time, Smith takes us within the arcane, funny world of comic-book cultism—but the themes of jealousy, deceit and the high price of growing up enough to truly care for someone make this a very satisfying movie. —Tom Keogh