Jackie Chan in Rush Hour 2RUSH HOUR 2

I didn't care for the smash hit Rush Hour when it came out in 1998, and so the arrival of Rush Hour 2, needless to say, didn't fill me with excitement. But the prospect of seeing the great John Lone and Crouching Tiger, Hidden Dragon's Zhang Ziyi in supporting roles piqued my interest, and you never know when star Jackie Chan is going to pull off some miraculous stunts, so an open mind seemed appropriate.

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.

Vin Diesel and Paul Walker in The Fast & the FuriousTHE FAST & THE FURIOUS

In The Fast & The Furious, that stolid, basso profundo actor Vin Diesel is forced into a close friendship with the blond, pretty, incredibly bland Paul Walker, so you know immediately that you're in make-believe territory once again.

David Duchovny, Julianne Moore, Seann William Scott, and Orlando Jones in EvolutionEVOLUTION

The sci-fi comedy Evolution is like Ghostbusters without Bill Murray, which isn't surprising since both films were directed by Ivan Reitman, but it also means that it's like Ghostbusters without the big laughs. In that 1984 blockbuster, Murray delivered his lines with an italicized innuendo that made even his throwaway quips hilarious; without his presence, the film (and its underrated 1989 follow-up) would just have been a moderately pleasant, cheesy, overscaled, haphazardly paced affair. That's Evolution.

Nicole Kidman and Ewan McGregor in Moulin RougeMOULIN ROUGE

I loved Baz Luhrmann's musical Moulin Rouge, but what I adore even more than the film itself are works like it - artistically divisive movies that give you no choice but to love or hate them.

Geoffrey Rush and Pierce Brosnan in The Tailor of PanamaTHE TAILOR OF PANAMA

It's been a very long time since a movie was released in our area that wasn't abjectly stupid, so it's easy to get some initial enjoyment from John Boorman's The Tailor of Panama, an adaptation of John LeCarré's 1996 bestseller. It's partially a spy thriller, but unlike the James Bond installments or the recent smash Spy Kids, the goofiness is kept to a minimum. Beyond that, the plot is smartly established, the cast is promising, the locations are exotic, and director Boorman shows from the start that he's in a frisky, playful mood; this is easily his most lighthearted work since 1987's Hope & Glory. So with all this going for it, and considering the undisputed wretchedness of the year's cinematic output, I have to admit that I feel like an ungrateful jerk for finding The Tailor of Panama itself rather disappointing.

Liv Tyler in One Night at McCool'sONE NIGHT AT MCCOOL'S

One Night at McCool's, the noir-esque comedy by debuting director Harald Zwart, begins promisingly enough: Three men - a good-natured bartender (Matt Dillon), a snaky lawyer (Paul Reiser), and a hangdog detective (John Goodman) - visit three separate confessors (hit-man Michael Douglas, incredulous shrink Reba McEntire, and randy priest Richard Jenkins), each detailing their obsession with the mysterious, definitely dangerous Jewel (Liv Tyler), the beauty who ruined their lives. Physically, emotionally, financially, this trio of saps couldn't be more disparate, and we're initially curious to see how their stories connect, how Jewel wound up seducing them, and what, exactly, her intentions are.

Chris Rock in Down to EarthDOWN TO EARTH and SWEET NOVEMBER

Is it a coincidence, or a frightening sign of flicks to come, that the two most high-profile movie releases this past weekend were remakes of movies that no one could have reasonably wanted remakes of at all? Sure, it's commonly accepted that Hollywood has all but run out of fresh ideas, but to be subjected to both Down to Earth and Sweet November in the same weekend seems a little harsh.

Helen Mirren and Jack Nicholson in The PledgeTHE PLEDGE

Sean Penn is one of the few dependably downbeat figures in American film, and those who like their dramas moody, atmospheric, and richly detailed will get some initial pleasure with The Pledge, Mr. Penn's third directorial outing.

Jason Statham, Brad Pitt, and Alan Ford in SnatchSNATCH

First, the bad news: Guy Ritchie's latest crime thriller, Snatch, is nearly a carbon copy of his sizzling 1998 debut film, Lock, Stock, and Two Smoking Barrels. The good news: Who cares? Those who like their thrills fast, bloody, twisty, and awfully funny will be in B-movie paradise here; we're only three weeks into January, and we already have a movie that's more enjoyable than 90 percent of what was released last year.

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