Every year around this time, the Academy of Motion Picture Arts and Sciences searches for a few important films that fit its Best Picture category. This year's leading candidate, "A Beautiful Mind," fits that category perfectly - personal conflict, tragedy and triumph, overcoming the odds, and global significance. In fact, in every facet, it should have an automatic date with Oscar in March.

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Appoggiatura, succedaneum, prospicience. These are just a few of the championship words spelled correctly at the Scripp's National Spelling Bee in Washington, D.C. over the years. Words that you and I, no doubt, have never even heard of, let alone been forced to spell check. And yet, they are the kinds of words that youngsters like Akeelah Anderson can rattle off in their sleep. Written and directed by Nicholl Fellowship winner Doug Atchison, "Akeelah and the Bee" is an inspirational story about a young girl from South Los Angeles who struggles to make it through her school's local spelling bee before heading on to the state, regional, and National Spelling Bees. And through the encouragement of her school, her friends, and her community, she discovers her true potential, all the while inspiring those around her. Much like the benevolent spirit found beautifully in "Searching for Bobby Fisher," "Akeelah" triumphs not just as a film about empowerment and good sportsmanship, but a film about doing the right thing. And its star, Keke Palmer, will absolutely steal your heart. Joyfully uplifting, "Akeelah and the Bee" is quietly, one of the year's finest.

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Devious, delinquent, and diverting. "Dangerous" is a coming-of-age tale that takes us back to adolescent years: A time of innocence, first kisses, and rebellion....and a time for mischief.

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The American Dream is alive and well in writer/director Jim Sheridan's endearing andintimate portrait, "In America." The film is not so much original in concept as it isoriginal in presentation. Told through the eyes of two young girls, "In America" depictsthe story of an Irish immigrant family coming to America in search of a new life after adevastating tragedy. It's charming and exudes tenderness, the exact antithesis of thegritty, turbulent dramas "My Left Foot" and "In the Name of the Father" that Sheridan hasmade a name for. "In America" is a deeply personal work for Sheridan, who came to Americaflat broke while struggling to make a living. And it's one the most lovable, moving filmsI have seen in recent years. Maintaining a childlike optimism and playfulness, itproffers: if you believe in magic, it will set you free.

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The American dream isn't what it used to be. And it's taken a dramatically different turn in writer/director Paul Weitz's latest comedy, "American Dreamz," taking aim at both pop culture and the Presidency. In the film, everyone is artificially obsessed with dreams, dreams that are unrealistic, unfulfilled, or unattainable. Everyone from the President, who is re-elected and detached from the real world, to a string of reality show contestants that only seek fame and fortune. Their worlds all converge on the stage of a hit reality series, "American Dreamz," an American Idol knock off hosted by the snooty Martin Tweed. Of most significance, the film juxtaposes the common consensus about the American dream itself, by suggesting that the pursuit of such dreams can lead to madness, heartache, and confusion. Conceptually, the film succeeds, but cohesively, it fails. Directed by Paul Weitz, whose previous works include "About a Boy," "American Pie," and "In Good Company," "American Dreamz" is a sociopolitical satire with a lot of bark, but not enough bite.

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"Anger Management" is a brainless comedy about how one man must cope with a hidden inner rage. It contrasts the absurd, comedic style of Adam Sandler with the more serious and dramatic acting talent of Jack Nicholson. The end result of which is a playful, diverting romp in the same vain as "Happy Gilmore" and "Billy Madison."

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Influential, innovative, and imperfect, Howard Hughes was one of the most compelling figures of the 20th Century. And in Martin Scorsese's latest biopic, his life is exposed with a flair of confidence and courage. Written by John Logan, "The Aviator" chronicles the topsy-turvy world of aviation pioneer Howard Hughes, a billionaire industrialist and visionary plagued with a private affliction. Throughout his career, Hughes romanced some of the world's most beautiful women, he produced some of the riskiest motion pictures ever made, and he helped pioneer the transformation of the aviation industry. But his desire for perfection would turn into obsession, tainting his legacy and forcing him into seclusion. With careful guidance, world-renowned director Martin Scorsese details Hughes' most prolific period while simultaneously alluding to the darkness that would consume him. Elegant and enthralling, "The Aviator" is an intricate character study of fame and misfortune.

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"I seek the means to fight injustice. To turn fear against those who prey on the fearful." These are the fiery words of Bruce Wayne, emerging from years and years of darkness and despair in the aftermath of his parents' death. Plagued with guilt and an insatiable anger, Wayne loses himself in the far reaches of the world only to resurface in Gotham City with a newfound vendetta and a newfound identity. Directed by Christopher Nolan, known for such psychological thrillers as "Memento" and "Insomnia," "Batman Begins" is twisted in a web of psychosis. It explores the inner demons of Bruce Wayne's past and present as well as his future struggle between justice and vengeance. But most importantly, it invigorates the franchise with the Batman story we've been waiting to see - one that shows Bruce Wayne's spiral into darkness and his emergence into a legendary superhero. Riveting and refreshingly somber, this is the amazing story of the man behind the mask.

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In 1995, following the cult sensation that was "Pulp Fiction," John Travolta starred in an adaptation of "Get Shorty," an Elmore Leonard story about Chili Palmer, a Miami loan shark who travels to Los Angeles to collect a debt from a sleazy movie producer. But in an odd twist of fate, he ends up pitching the producer a movie based on his own story, one that details the workings of a shylock, drug dealers, and other insidious characters. And one that explains why he is threatening the producer's own life! Now, 10 years later, Travolta returns as Chili Palmer in "Be Cool," the follow up to the snappy crime comedy. But this time, Chili enters the underworld of the music industry. Directed by F. Gary Gray, known for such sophisticated action thrillers as "The Italian Job" and "The Negotiator," the film retains the cool composure of the original, but surprisingly, lacks the sizzle. Far less original and appealing, "Be Cool" borrows more than it creates, placing it properly in the ranks of substandard sequels.

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The unmistakable twitch of the nose. The enchanting theme and arrangements by Warren Barker. The lovely and cheerful Elizabeth Montgomery. All of these characteristics helped distinguish "Bewitched" as one of the most beloved sitcoms of all time. Depicting the every day life of a suburban household under the influence of magic, "Bewitched" dazzled and delighted audiences with humorous, socially aware stories. Now, many years later, the well-known director of "Sleepless in Seattle" and "You've Got Mail" adapts the classic into a modern tale. But rather than rehash the old, Nora Ephron and her sister Delia concoct a different scheme - a remake within a remake. Starring Will Ferrell and Nicole Kidman, "Bewitched" tells the story of Jack Wyatt, a failed actor, who is offered a comeback role in a remake of the famed television series. And his co-star, Isabel Bigelow, happens to be a real witch. Although filled with occasional wit and humor, it lacks cohesion and chemistry, essential ingredients to the original's success. Muddled and misguided, this "Bewitched" cannot conjure up any magic of its own.

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Edward Bloom was the most extraordinary man in all of Ashland, Alabama. At least, so he would have you believe. Says his son, William: "In telling the story of my father's life, it's impossible to separate the fact from the fiction." There are stories about falling in love, stories about the circus, and stories about magical creatures, places, and events. Detailing the triumphs and failures of fatherhood, "Big Fish" is told through the eyes of William Bloom, the son of Edward, who visits his father on his deathbed to say good bye and separate the man from the myth. It's based on Big Fish: A Novel of Mythic Proportions by Daniel Wallace and directed by renowned auteur, Tim Burton, known for his dark and unconventional takes on such works as "Batman" and "The Legend of Sleepy Hollow." But surprisingly, "Big Fish" is not dark and twisted. It's the exact opposite - a heartwarming, nostalgic story of tall tales and even taller dreams.

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What do you get when you mix the swagger and slapstick of Will Ferrell with the elegance and artistry of professional figure skating? Talladega in Tights? Skating and Screaming? No, it's "Blades of Glory," a sports comedy parodying the pageantry of professional figure skating. After two rival Olympic skaters, Chazz Michael Michaels and Jimmy MacElroy, are stripped of their gold medals and banned from the sport, they discover a slight technicality in the rulebook that allows them to compete again - as the first male/male figure skating pair in history. Like most spoofs, "Blades of Glory" is proficient at parody. And it does its best to honor the athletes who make it their profession, adding cameos from Sasha Cohen, Scott Hamilton, Nancy Kerrigan, and more. But apart from the concept and a handful of inside jokes, the film misses its opportunity to break away from the technical routine, earning solid marks, but not enough for the awards stand.

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If you're looking for a mindless action thriller, "The Bourne Supremacy" fits the bill quite nicely. Continuing the saga of the amnesiac Jason Bourne and his attempt to reconcile past memories of super agenthood, the film deviates from the novel quite a bit to focus entirely on the chase. While CIA Agent Landy searches for Bourne in an elaborate game of cat and mouse, a Russian assassin aims to have Bourne killed. From the shores of India to the city streets of Berlin and Moscow, everyone seems preoccupied with Bourne - including director Paul Greengrass, who finds a way to maintain intrigue and suspense without the need for character complexities. Representing the second piece in Robert Ludlum's three part series, "The Bourne Supremacy" de-emphasizes melodrama while emphasizing the action quotient. And the end result is a roller coaster ride of unglamorous sophistication and artful escapes.

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Orson Welles once wrote, "We're born alone, we live alone, we die alone. Only through love and friendship can we create the illusion for the moment that we're not alone." As humans, we all have the need for love - to find someone who inspires us, comforts us, and fulfills us. And it is that yearning, that desire to create such an illusion, that echoes throughout Ang Lee's adaptation of Annie Proulx's moving short story, "Brokeback Mountain." In the film, Jake Gyllenhaal and Heath Ledger star as two young cowboys hired to herd sheep in the title location, but who end up forming an unorthodox relationship that is difficult to shake. Upon their return to the real world, each struggles to fit into society and establish relationships with the opposite sex, all the while seeking ways to rekindle their feelings for one another. Beautifully cinematic and simple, the film profoundly engages the emotions associated with unrequited love, a love that must be kept under careful lock and key. And with passion, conflict, and gritty determination, "Brokeback Mountain" courageously and magnificently explores a new frontier.

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Have you ever wondered what it would be like to be God? To be all powerful and all knowing? To be able to make mountains out of molehills? It's hard to fathom such power given to a mortal human being, but that is the premise behind "Bruce Almighty," a divine comedy about a man who is bestowed with God's powers for one week. What would you do? How would you behave? Would you make the world a better place? With the good-humored antics of Jim Carrey and the direction of Tom Shaydac, also known for his work on "Liar, Liar" and "Ace Ventura," "Bruce Almighty" is a pleasant, yet wonderfully hilarious and heartwarming film.

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Welcome to Camp Ovation, a camp where "American Idol" and "Star Search" collide with summer camp and Broadway musicals. A place where the theater arts are celebrated and performed by the nation's most gifted teenage singers, dancers, and actors/actresses. It's a place where those who feel out of place in their normal lives can find comfort with others. And it's a place where everyone gets to have their moment in the sun. Marking the directorial debut of Todd Graff, a Tony nominated actor for his role in the Broadway smash "Baby," "Camp" is an off beat comedy drama with a lot of soul. Blending coming-of-age story arcs with whimsical show tunes and ballads creates a passionate, uplifting summer sensation!

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"Casa de los Babys" is an all-encompassing look at the foreign adoption business aspersonified by a group of American women waiting out their residency requirement in SouthAmerica. The film is the latest entry from John Sayles, a director with a penchant formixing sociology with complex character dilemmas. It details the experiences of sixnoteworthy starlets, trapped in a foreign country, struggling with the inabilities toconceive while awaiting the completion of their adoption papers. For them, it's a lifechanging, emotionally charged event. But for the country, with various political, economical,and social complications, it's business as usual. And although the subject matter exceedsthe scope of this film, Sayles is quick to point out that in the casa de los babys, as inlife, there are no guarantees.

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Spectacular, extravagant, and 'all that jazz!' Pure and simple, "Chicago" is a fun film to watch, full of great music and a bevy of actors turned divas. Taking the Tony award winning musical and transforming it to the silver screen, director Rob Marshall takes the baton from Baz Luhrmann's "Moulin Rouge" and propels the modern day musical to a whole new level. Originally opening as a Broadway play in 1975, "Chicago" is food for the sensationalist soul - full of greed, adultery, exploitation, violence, and corruption.

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"Candy doesn't have to have a point. That's why it's candy." Simple, yet profound words spoken by Charlie Bucket, a good hearted young boy from a poor family who lives down the street from Willy Wonka's world famous Chocolate Factory. Able to afford only one candy bar a year, Charlie's wildest dream comes true when he wins an all expense paid trip to the factory. But little is known about the imaginative man who runs the most celebrated candy company, let alone why after 15 years, he's decided to open its doors to five lucky winners. Based on the beloved children's classic by Roald Dahl, "Charlie and the Chocolate Factory" is devilishly rich in humor and splendid in sight. Brought to life by visionary director, Tim Burton, who also adapted another of Dahl's works "James and the Giant Peach," the film preserves many of the thrills and possibilities that make the story rewarding and riotous, a morality tale where the nasty are punished and the good are justly rewarded. With wondrous image and imagination, it's as textured and flavorful as a Wonka Whipple Scrumptious Delight.

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In the middle of the Great Depression, one man fought his way out, carrying the entire nation with him. And his name was James J. Braddock, a family man and impoverished prize-fighter whose fairytale journey to the top of the boxing world is well documented in Ron Howard's historical drama, "Cinderella Man." The story is about a common man who becomes an unlikely hero in the most unlikely of times by upholding the simple and honest values he so firmly believes in. And unlike so many boxing films of yore, this one focuses on the man rather than the boxer. Driven by love and honor, courage and fortitude, Braddock achieves the impossible, defeating legions of foes on his way to the heavyweight championship of the world. And his unexpected rise earns him the nickname, Cinderella Man. The film itself is replete with phenomenal performances, led of course by Russell Crowe, and it contains some of the most realistic, thrilling boxing sequences ever captured on film. And despite overemotional tendencies, "Cinderella Man" remains a humbling and stirring account of an upstanding American hero.

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Miles outside Brazil's resort city of Rio de Janeiro lies the "City of God," a slum of all slums, built as a shelter for the homeless and poverty stricken. But within this slum, a violent turf war is about to erupt between gangs battling for supremacy over drugs and money. In the middle of it all is a young boy named Buscape, aka Rocket, who stands, camera ready, in the city streets where violence and bloodshed have become the norm. A staggering masterpiece from newcomer, Fernando Meirelles, "City of God" is a graphic, striking look at how violence first came to the "City of God" and how it has forever shaped the city's culture.

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Don't be fooled by the ambiguity implied in the title. "Closer" could not be further from the truth. The latest work from Mike Nichols, director of "The Graduate," "Silkwood," and "Working Girl," dissects modern romance with a plastic spoon. This is no heartwarming love fest, mind you. Rather, it's a cold, harsh look at relationships gone sour, from the chance encounters to the initial attractions and ultimately the bitter betrayals. Adapted from Patrick Marber's award winning stage play, the story follows four strangers drawn together by circumstance but pushed apart by their own obsessions. The sexual jealousy, the casual lies, the ego fueled competition, and the unforgiving fall out. All of the characters subject and are subjected to this new kind of relationship, a relationship that fails to bring them any closer to true love.

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"Have you ever wondered what happened in your house before you lived there?" So says thetag line from the trailer of "Cold Creek Manor," an intriguing new thriller promisingsuspense and mystery, promising that the so-called truth of Cold Creek Manor will berevealed. But unfortunately for award winning director, Mike Figgis, better known forhis Academy nominated "Leaving Las Vegas," the teaser is just a teaser and the movie isjust an average movie in a long line of psychological thriller copy cats. Try as itmight to hold our attention, it disappoints at every turn, ending in a whimper ratherthan a bang.

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"Cold Mountain" is a capable, but poorly executed and over hyped drama. Based on the best selling novel by Charles Frazier, it depicts the love story between Inman, a soft-spoken Confederate soldier and Ada, a high society southern belle. Both are inevitably separated upon the announcement of the Civil War and endure many hardships on the path toward a final reunion. Directed by Anthony Minghella, who also brought us "The English Patient" and "The Talented Mr. Ripley," the film is successful as a series of independent scenes, but when strung together the overall purpose gets lost in the shuffle. And when the reel stops, the film will be remembered only as a muddled and tiresome misadventure.

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Welcome to the jungle, an urban playground where jazz meets rock n' roll, simplicity collides with sophistication, and routine is far from boring. This is the dark and mysterious side of Los Angeles, a city that becomes an integral character in Michael Mann's electrifying crime thriller, "Collateral." Starring Tom Cruise and Jamie Foxx, the film transpires over the course of one fateful night, where two characters from different backgrounds make a series of visits across town. One is a taxi driver and the other is his fare, a hit man out to eliminate five witnesses. Edgy, suspenseful, and irresistible, the film leaves quite an impression. Its ingenious dialogue, gritty performances, and groundbreaking cinematography make "Collateral" an expertly crafted film without default.

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Bernie Lootz has the uncanny ability of turning winners into losers at the Shangri La hotel and casino in Las Vegas. "I do it by being myself," he says, falling hopelessly into the self-fulfilling prophecy. But all of that is about to change after meeting the girl of his dreams - lady luck. Written, directed, and storyboarded by first timer, Wayne Kramer, "The Cooler" is a contradiction to the sexy and glamorous adventures of prototypical Las Vegas life we've come to know. It's simple, unglamorous, and ordinary. And though it may lack the punch of a sophisticated heist film, the stakes are just as high for Bernie and those living in the shadows of the Las Vegas underworld, virtuous individuals seeking a return to normalcy.

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"A tragic tale of romance, passion, and a murder most foul?" Perhaps. But don't be too frightened by Bojangles' introduction. This animated fable may seem dark and dreadful, but it's really quite pleasant. And family friendly. From the creator of "The Nightmare Before Christmas," "Corpse Bride" offers up a second handful of stop motion with a touch of gothic sensibility and fairy tale cheer. When a young man gets cold feet during his wedding recital, he runs away only to find himself married to a corpse and trapped in the underworld. He then must find his way back home and back to his true love. Directed by the master of the macabre, Tim Burton, "Corpse Bride" is an imaginative, sophisticated tale with unexpected charm. And it features a variety of characters, from rotting corpses to dancing skeletons, all of which have plenty of heart, long after their hearts have stopped. In good spirits, "Corpse Bride" is delightfully ghoulish.

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Adapted from the 1986 six-part British miniseries by the late Dennis Potter, "The SingingDetective" features a talented cast and a variety of 1950's hop from Gene Vincent's "In MyDreams" to The Coasters "Poison Ivy." It's about a detective novelist who struggles toovercome a rare skin disease and while medicated, has hallucinations about his childhood,his failed marriage, and his outlook on life. All seems bleak until he encounters a craftypsychologist, played amusingly by Mel Gibson, who like a detective himself, unravels thenovelist's personal mysteries. Sounds good, right? Well unfortunately, rather than sing,the film version struggles to find its own unique voice, has a hard time consolidating whatPotter took six hours to convey, and more importantly, lacks the substance or zing tosustain a prolonged interest.

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There's something inexplicably funny about a grown man in yellow tights, especially when that grown man happens to be former SNL alum Will Ferrell. After the adult comedy "Old School" in which Ferrell plays the obnoxiously sophomoric Frank "The Tank" and drinks like a frat fish, he switches gears completely in this unexpectedly warm family comedy. In "Elf," Ferrell plays an orphaned human child raised by elves, but who ultimately grows up yearning for the affection of his real father. Directed by Jon Favreau, also known for his cameo appearances on "Friends" and his lead role in "Swingers," "Elf" is a charming, wholesome Christmas film with a lot of holiday spirit.

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First of all, and most importantly, I must tell you that I am a Star Wars geek. I have seen the original tri-fecta of films in the theater as a child growing up and have collected every action figure bearing the Star Wars name. That being said, I have no malice toward the legacy nor the legions of fans who love the mythos as much as I do. Simply put, I love Star Wars. Always have.

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"A long time ago in a galaxy far, far away," George Lucas created an interstellar epic that forever changed the pop culture landscape. Starting with Episode IV back in 1977, "Star Wars" became the most successful motion picture franchise in history. And now, 28 years later, the saga comes full circle with the final installment, "Revenge of the Sith." This final prequel concludes the chronicles of Anakin Skywalker, whose path to the dark side of the force is cemented with the fall of the Republic and the rise of the Galactic Empire. Caught between good and evil, friends and enemies, right and wrong, Anakin begins his downward spiral with good intentions but against his better judgment. Says Yoda: "Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering." And sadly for Anakin, he becomes consumed by fear, transformed into the most wretched of villainy, namely Darth Vader. With state of the art technology by the numbers and one of the most anticipated origins of all time, the film excites and entertains with the same jubilant energy that made the original trilogy so beloved. Although far from perfect, "Revenge of the Sith" is a gratifying finale. And to Star Wars fans everywhere, a celebration of galactic proportions.

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Have you ever wondered what it would be like to erase a moment from your past, as if it never happened? To forget the mistakes, the embarrassment, and the pain? Such is the premise behind "Eternal Sunshine of the Spotless Mind," a film by Michel Gondry, that explores the repercussions of memory loss. Following a tumultuous relationship with the impulsive Clementine, Joel Barish decides to exact revenge and have his memory of her erased. But while undergoing the procedure, he realizes how much he truly loved her and how much he wants to hold on to her. Written by Charlie Kaufman, whose previous works like "Human Nature," "Being John Malkovich," and "Adaptation" pushed the boundaries of disillusion and dementia, "Eternal Sunshine" breaks the mold, harnessing some of the same energy and imagination to create a highly original love story.

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"Everything Put Together" is a dark and disquieting psychological tale about a woman forced into a downward spiral after the death of her first child. Her husband becomes indifferent and neglectful, her friends disown her, and she becomes horrifically insane and emotionally distraught. Directed by Marc Forster as the precursor to the 2001 award winning "Monster's Ball," the film is an exploration of human fallibility and bereavement. Suspenseful and satirical, it approaches a modern day suburban nightmare.

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Much like the Jones', the Whitakers have it all: a plush house replete with a maid and gardener, an active social life consisting of swank parties and soirees, and a picture perfect family with two lovely and respectful children. In fact, they are so well known in the community that they are commonly referred to as Mr. and Mrs. Magnatech - a title in reference to the many advertisements they've appeared in together. Life is pretty, gosh darn good except for one mysterious detail about Mr. Whitaker: He is in love with someone else and that someone else is another man.

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Director and screenwriter Christopher Claridge defines a flophouse as any kind of rental home consisting of a handful of roommates, all struggling to make their way in the real world. Claridge was one of those roommates in a rental in Van Nuys, California, which played host to as many as 20 different roommates over just a few years. Trying to break into film as an actor in the late 80's and early 90's, Claridge documented his experiences into "Flophouse," a well-intended film that pokes fun of those old roommate days - the days when money was scarce, food was comprised of instant noodles, and when the landlord came a knockin', you went a hidin'. But the translation to film, despite good intentions, comes off more as a sophomoric and tiresome effort, with little plot and character conflict to warrant any interest.

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Are you ready for some football? Okay, maybe it's not professional football, but don't tell that to the legions of fans that crowd Ratliff Stadium every Friday night to watch their beloved Permian Panthers take the field. For them, this is the greatest show on earth. And this inside look is based on the 1990 New York Times best seller, "Friday Night Lights: A Town, a Team and a Dream" by H.G. Bissinger. Following one of Texas' most successful team during a prototypical season, "Friday Night Lights" highlights the personal struggles, the pressures to win, and the hopes and dreams that rest on any given Friday. Produced by Brian Grazer, also known for "Apollo 13," "A Beautiful Mind," and "8 Mile," "Friday Night Lights" is yet another great example of absorbing character drama. Resisting the urge to showboat, the film expertly infuses humanity into the unforgiving, obsessive world of high school football.

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Due to the efforts of Bora Milutinovic, Kyle Rote, Jr., Paul Caligiuri, and most recently, Brian McBride and Landon Donovan, soccer in the United States has gotten some respect over the years. But that wasn't always the case. In 1950, when the United States was invited to partake in the World Cup in Brazil, they had no respect, no team, and no chance. Directed by David Anspaugh and written by Angelo Pizzo, the dynamic duo that brought about "Hoosiers" and "Rudy," "The Game of Their Lives" is a tribute to the 1950 U.S. soccer team, a rag tag bunch that shocked the world by defeating England, the all around favorite, at the World Cup tournament. And the film version honors this experience, casting likable characters, maintaining historical accuracy, and capturing convincing game play. Although at times, it struggles to build momentum, "The Game of Their Lives" remains an inspiring homage to the men who changed and continue to change the face of the game.

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"Garden State" is not just about New Jersey; it's about a state of mind. A jumbled state induced by years and years of meds and pent up futility. Written and directed by Zach Braff, better known in television circles as Dr. John Dorian from the hit comedy "Scrubs," the film depicts the transformation of a dejected actor, Andrew Largeman, who returns to his hometown after a nine-year leave of absence for his mother's funeral. While in the Garden State, Largeman begins anew by discovering friendship and life without the influence of anti-depressants. With passivity and subtlety, there doesn't appear to be much on the surface. But somewhere between the Prozac and Zoloft is a comedy of intemerate charm.

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"As a girl, you see the world like a giant candy store, filled with sweet candy and such" says Justine, but as an adult, the selection gets smaller and the choices redundant.

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Controversial, candid, and composed, Edward R. Murrow is considered by many to be the founding father of broadcast journalism. Known for his matter of fact demeanor and his unflinching integrity, Murrow helped shape television news into what we see and hear today with radio and television shows like "Hear It Now" and "See It Now." Never one to shy away from the truth, Murrow made a name for himself by exposing the fear tactics of Senator Joseph McCarthy and helping defuse the paranoia surrounding Communism in the early 1950's. And it is that heroic effort that lies at the center of George Clooney's biographical tribute, "Good Night, and Good Luck," also widely known as Murrow's signature sign off. Captured eloquently in black and white, the film exudes a warm texture with the sound and sophistication of a jazz club. Featuring a brilliantly subtle and sophisticated performance by David Straitharn, "Good Night, and Good Luck" methodically and purposefully demonstrates the importance of impartial journalism.

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Jules de Gaultier once said, "Imagination is the one weapon in the war against reality." And it's an appropriate quote taken to heart by a 10 year old boy in "Hard Goodbyes: My Father," where the young boy must cope with the unexpected death of his father. But rather than deal with reality, he copes by using his imagination, keeping his father's image alive until a final promise can be fulfilled. Simple, tender, and truthful, the film deals with its subject matter with delicacy and attention to detail. Representing the first feature film of Penny Panayotopoulou, "Hard Goodbyes" is a quiet eulogy, a reflection on life and death, dreams and imagination, from the perspective of a young boy.

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"Double, double toil and trouble; Fire burn, and caldron bubble." It's the famous incantation from the witches of Macbeth, no doubt a delicious metaphor for the mischievous events brewing in J.K. Rowling's third installment of the Harry Potter series. For in this edition, the alleged murderer of Harry's parents, Sirius Black, has escaped from prison in Azkaban, and is now hunting for the adolescent wizard himself. Like every chapter of the series, an entire school year unfolds at Hogwarts, the kids solve a mystery, and Harry uncovers precious details about his past. Yet, while much remains the same, this Harry Potter film uniquely matures with the help of a new director, a cast that is noticeably older, and a storyline that is much darker in tone. It's a refreshing change of pace. And it helps make "Azkaban" a sophisticated and distinctive delight.

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"Dark and difficult times lie ahead, Harry. Soon we must all face the choice between what is right...and what is easy." Those are the foreboding words of Albus Dumbledore, words that convey a heavier, gloomier outlook for Hogwarts and the Harry Potter universe. In particular, the disappearance of childhood charms and the emergence of adult-laden curses. After all, "Goblet of Fire" begins with a nightmare and ends with a death. And it is the kind of heavy subject material that has earned the film a PG-13 rating. For in the story, Harry Potter is mysteriously placed in the Tri-Wizard Tournament, a tournament of grave proportions. All the while, the appearance of the destructive Death Eaters signals the return of Lord Voldemort. Unlike any of the others, "Goblet of Fire" bears no semblance to the traditional style of Harry Potter storytelling. And while the artless age of adolescence still abounds, it's the uncomfortable acceleration into adulthood that emerges as the boy wizard comes to grips with his own fallibility. As exhilarating as it is daunting, "Goblet of Fire" is all grown up.

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"There's a storm coming Harry, and we must be ready when she does," says Rubeus Hagrid, as the wizarding world teeters on the edge of a full-scale war in "Harry Potter and the Order of the Phoenix." As if a pending war was not enough to worry about, Harry begins his fifth year in wizard exile, besmeared by the local paper and admonished for using magic to defend himself in public. With Hogwarts under a new authority and amidst a community that refuses to believe the Dark Lord has returned, Harry must choose his alliances carefully while training his friends in self defense and sacrifice. Under new direction and writing, "Order of the Phoenix" shifts into high adult gear, moving quickly out of adolescence and into the often cold and cynical world of adulthood. Innocence, wonderment, and playground fun have all been replaced with fear, betrayal, and death. Although the longest book to be adapted, "Harry Potter and the Order of the Phoenix" represents the shortest film in the series. As a result, incongruities in plot and character abound. And yet, in spite of these shortcomings, "Order of the Phoenix" remains a constant, highly engaging entry in the Harry Potter saga.

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"There are things that go bump in the night. We're the ones who bump back." Of course, Professor Bruttenholm is referring to the covert operations of the Bureau for Paranormal Research and Defense (BPRD), an organization set up by President Roosevelt to counteract the practices of the Nazi Occult during World War II. Within the confines of this operation is a group of secret agents led by Hellboy, a devilish character with a notion for crime fighting. Based on the Mike Mignola comic series by Dark Horse Comics, "Hellboy" is a supernatural adventure with creative spirit. Brought to screen by writer/director Guillermo del Toro ("Blade II" and "The Devil's Backbone"), a longtime fan of the comic, the final product is dynamic in disposition, but ineffectually conveyed.

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After two years of trying to find a distributor, "Hero" finally arrives in American theaters. And not a moment too soon! Championed by Miramax and Quentin Tarantino, this 2002 Academy Award nominated film has it all - romance, drama, action, and intrigue. Starring Jet Li, Maggie Cheung, Tony Leung, and Zhang Ziyi, "Hero" explores the events leading up to China's first Emperor by demonstrating how legends are made and heroes are born. When a minor official defeats three of the King's fiercest enemies, he is summoned to the King's court to present his story in elaborate detail - one filled with jealousy, deception, love, and honor. Using a unique blend of Chinese art forms, tradition, and philosophy, writer/director Zhang Yimou creates a masterful tale - a tapestry of extraordinary color.

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"Hidalgo" is an action-adventure movie based on the controversial legend of Frank T. Hopkins. Written by John Fusco, whose previous works include "Spirit: Stallion of the Cimarron," "Young Guns," and "Thunderheart," the movie tells the tale of the world's greatest long distance rider and his faithful Mustang steed, Hidalgo. Hopkins became legendary by competing in over 400 cross-country races and winning every single one. But the film concentrates exclusively on his final race - the Ocean of Fire, an endurance run across three thousand miles of Arabian desert. Starring Viggo Mortensen and Omar Sharif and set amidst the beautiful sand dunes of Morocco, the film may be misrepresentative of the facts, but its charm and traditional sense of adventure help it cross the finish line.

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Based on the graphic novel by John Wagner and Vince Locke, David Cronenberg's "A History of Violence" plays with the psychological aspects of violence - the impact of violence on a family and a community. And the long lasting effects violence has when used as a means to an end. The story revolves around Tom Stall, an upstanding small town business owner who is forced into a violent confrontation when a group of criminals arrive at his diner doorstep. By thwarting the robbery and saving the day, Tom is elevated to local hero. But all the publicity surrounding his good deeds brings unwanted attention, including that of some local mobsters who believe Tom to be someone else. A compelling thriller, "A History of Violence" is comprised of two storylines, the first of which is much stronger than the last. Shrouded in small town charm, the textured performances by Viggo Mortensen, Maria Bello, and Ed Harris give the film an earthy and eerie sensibility. But never does it deviate from Cronenberg's primal instincts.

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When people ask me, good listeners, why do I hate all the Tutsi, I say: read our history. The Tutsi were collaborators for the Belgian colonists, they stole our Hutu land, they whipped us. Now they have come back...(and) we will squash the infestation.

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In May 1962, a new type of hero emerged. Unlike any other superhero at the time, the Hulk was a manifestation of fear, whose power was fueled by anger and rage, and if uncontrolled, could single handedly destroy all of mankind. An original creation from Marvel stalwarts Stan Lee and Jack Kirby, the Hulk was born and reborn, undergoing a series of transformations over the years including an unforgettable five-year stint on television starring the late Bill Bixby and bodybuilder, Lou Ferrigno. Now, for the first time, the Hulk makes his way to the big screen. He's bigger than ever, he's greener than ever, and you still won't like Bruce when he's angry. Thanks in part to Academy Award winning director Ang Lee and producer Gale Anne Hurd, this interpretation of the Hulk has incredible style and detail.

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Based on the best seller by Philip Roth, "The Human Stain" is a provocative illustration ofpublic opinion at its worst. When an esteemed classics professor is accused of a making aracist statement, rather than analyze the facts and proceed cautiously, the university forceshim to resign. His career, marriage, and life are forever in ruin. Academy Award winningdirector Robert Benton (Kramer vs. Kramer) assembles a terrific cast to relay the allegory ofColeman Silk, a private man whose life is altered by a false sense of righteousness.Tragically engaging, "The Human Stain" is a somber look at cause and effect; in particular,it's a parable about how a society's beliefs and morals can mask the truth, sometimes for anentire lifetime.

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The opening monologue is difficult to shake. "It's like all my days, I've been hearing this beat in my head, man. It's like its pounding. But sometimes it gets real soft. And it can't be stopped." Straightforward and true, DJay's philosophical ramblings reveal more about the depth of his character than you could ever expect from a drug dealer or a pimp. But it's precisely what writer/