Edward Norton and Anthony Hopkins in Red DragonRED DRAGON

Red Dragon is an entertaining, admirable adaptation of Thomas Harris' suspense novel, which was the world's introduction to everyone's favorite fictional serial killer, Hannibal Lecter.

John Turturro and Adam Sandler in Mr. DeedsMR. DEEDS

I'd love to reveal the finale to the new Adam Sandler comedy Mr. Deeds, but that would imply that I made it through the picture. For the first time in almost 10 years, I walked out of a movie - at roughly the one-hour mark - and am a little mortified that I lasted as long as I did.

Ben Affleck, Morgan Freeman, and Lev Prygounov in The Sum of All FearsTHE SUM OF ALL FEARS

In The Sum of All Fears, the latest film adaptation of one of Tom Clancy's Jack Ryan thrillers - the other movies being The Hunt for Red October, Patriot Games, and Clear & Present Danger - America and Russia are headed for war. In a horrifying scene that, given our national consciousness, might deeply unsettle audiences, a nuclear device has detonated at a football stadium in Baltimore, and all indicators point to the Russians and their new president (Ciaran Hinds) masterminding the attack. Our government, and our mildly befuddled president (James Cromwell), are readying a counter-assault that will inevitably lead to World War III, but Jack Ryan, our one-man CIA, knows that something's just not right about our leaders' assumptions, and tries to ... hey, wait a minute, is that Ben Affleck playing Ryan?

Scrat in Ice AgeICE AGE

Movies with charm have been in such short supply this year that the animated Ice Age feels like a shot of pure oxygen. Visually, the film is lacking the detail of a Shrek or a Monsters, Inc., and it's a bit on the goody-goody side, but it's a completely enjoyable, amiable good time at the cineplex, particularly if you've been looking for a movie to take the family to that's less saccharine than Return to Neverland and infinitely smarter than the likes of Big Fat Liar and Snow Dogs.

Sulley in Monsters, Inc.MONSTERS, INC.

Saying that Pixar's Monsters, Inc. is the weakest of its quartet of computer-animated feature films is like bitching that you got a Jaguar for Christmas when you really wanted a Porsche; instead of achieving the genius-level greatness of the Toy Story films and A Bug's Life, the studio's new work is just brilliantly designed, cleverly plotted, and funny as all get-out. What's to complain about?

Nicole Kidman in The OthersTHE OTHERS

Alejandro Amenabar's ghostly The Others feels like the film version of some beautifully chilling short story by Lovecraft or Shirley Jackson, where "Boo!"-style thrills take a back seat to dread and psychological complexity; it's a savvy, entertaining piece.

Final Fantasy: The Spirits WithinFINAL FANTASY: THE SPIRITS WITHIN

I can't imagine who could make sense of the gobbledygook plotting of Final Fantasy: The Spirits Within, yet I can't imagine who will fail to be wowed by the movie's effects; it might be the most visually extraordinary, intellectually banal sci-fi work since 2001: A Space Odyssey. There isn't a moment in the film that isn't amazing to watch, and that includes the moments when the heroine (voiced by Ming-Na) simply walks alone with her hair blowing lightly past her cheeks; Final Fantasy stands as the current standard-bearer in computerized realism.

Halle Berry and Hugh Jackman in SwordfishSWORDFISH, ATLANTIS: THE LOST EMPIRE, and LARA CROFT, TOMB RAIDER

Within a four-day span, I sat through Swordfish, Atlantis: The Lost Empire, and Lara Croft, Tomb Raider, and have become convinced that they're all the same movie. True, one is a sleek action-thriller, one a Disney cartoon, and one inspired by a popular videogame, but consider:

ShrekSHREK

Let's face it: Kids are gonna love Shrek, Dreamworks' comedic, computer-animated fairy tale. They'll get a kick out of the loud, outsize characters and superb visuals, and they'll probably laugh a lot. No one under 12 will want to miss it.

As for the rest of us ... .

The Emperor's New GrooveTHE EMPEROR'S NEW GROOVE

Despite being saddled with a crummy title, Disney's The Emperor's New Groove turns out to be the studio's most sheerly pleasurable animated feature in ages. It appears to have been made not only for those of us who were sick to death of the tired old Disney formula, but by people who were sick to death of the tired old Disney formula; it attacks the studio's shopworn clichés with a vengeance that is both hilarious and utterly deserved.

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