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Dating is never easy. There's the parental approval, conflicting religious beliefs, and the age difference to consider. All factors which are examined in director Ben Younger's new film "Prime", a romantic comedy which resonates with Woody Allen's trademark ode to the Manhattan landscape and Jewish roots.

Seasoned veteran Meryl Streep portrays Lisa Metzger, a psychiatrist who is helping one of her patients, Rafi Gardet (Uma Thurman), deal with a recent divorce. Lisa suggests that Rafi should reintegrate herself into the dating scene, which is exactly what she does.

Rafi, a 37-year-old fashion photographer, meets 23-year-old aspiring artist David Bloomberg (Brian Greenberg) while attending a film screening, and the two soon become an item. While both acknowledge the obvious age difference between them, they nonetheless enjoy the conversations, common interests, and most importantly, the sexual chemistry.

Yet, Rafi feels guilty for dating someone so much younger than her, a fact which she divulges to Lisa, while David begins feeling pressured by his mother for dating a woman who is not Jewish.

Like the characters involved, we soon begin to realize the connection between them, which makes for some very funny and uncomfortable situations and complications as the truth is slowly revealed.

Streep is wonderful as the mother who attempts to handle the relationship between her son and patient while having to continue maintaining her professional ethics. Meanwhile, Thurman is very convincing as a woman who wants to hold on to her youthful appeal, with Greenberg turning in an effective performance as the man torn between his mother and lover.

"Prime" is light-hearted, yet still remains in the realism of today's relationships and its diverse issues and consequences, unlike most other films which all too often turn their romances into simple, unbelievable fairy tales.

Like the most recent "Cheaper By The Dozen", down to the "Brady Bunch", and the original Henry Fonda-Lucille Ball vehicle this is based on, films have long ago depicted the dynamics of extended families.

Continuing that same premise, is this hyperactive, sugar-infused comedy which stars Dennis Quaid and Rene Russo as the leads.

Quaid is Frank Beardsley, a strict coast guard admiral who runs his household like a navy ship by raising his eight children under a high disciplinarian regime. Then there's Russo, who portrays Helen North, a hippie-style handbag designer whose ten kids (some of whom are adopted), don't seem to have to follow any rules.

Both recently widowed, Beardsley and North were high school sweethearts who reconnect at a class reunion and soon rekindle their romance, unaware of their respective broods.

It doesn't take long for them to be married, and for their offspring to get acquainted, even though the youngsters take an immediate dislike to each other, and to their parents' marriage. From there, the kids learn to get along and conspire together just long enough to cause a rift between mom and dad.

What then ensues, is Beardsley and North butting heads over their child-rearing methods, uncontrollable kids, physical slapstick, and the inclusion of a menagerie of animals which includes a pet pig.

Naturally, one can't expect anything less than the sappy ending which can only be found within the typical television sitcom, which is pretty much how this film can be best described.

Nonetheless, while it may not offer young viewers a lesson in exemplary behavior, it's still enough to keep them entertained.

James Mangold has proved himself as a diverse director, tackling crime and corruption within the police force (Copland), angst and suicidal tendencies amongst a group of female patients of a mental institution (Girl, Interrupted), and a horror whodunit mystery located at an isolated motel (Identity). Now, Mangold offers up the biopic genre which has recently been showcased as a guaranteed Academy highlight.

The line which has been traversed by Johnny J.R. Cash (Joaquin Phoenix), hasn't always been a straight one. Beginning in childhood with the endless days working in his Kansas home's cotton fields, the tragic death of his brother, and the strained relationship with his father (Robert Patrick), Cash emerges from the ruins of his personal life by pursuing an entirely new persona.

From the moment he purchases his first guitar and walks into a recording studio to sell his first song, down to his infamous performance for a crowd of inmates at Folsom prison, Cash's rags-to-riches journey is rife with highs and lows. He encounters initial rejections of his material, begins neglecting dull family obligations alongside his wife Vivian (Ginnifer Goodwin), and his children, in favor of extensive concert tours, and ultimately descends into a spiral of addiction, all of this happening, just as he begins to get recognized, and collaborating with newly-introduced legends such as Elvis Prestley, Roy Orbison, and Jerry Lee Lewis.

Along the way, he finds his salvation, lifelong performer June Carter (Reese Witherspoon). Carter is sweet as pie, which heavily contrasts with Cash's rough edges, but they nonetheless make a connection, both as a professional and romantic duo, as they embark on a ten-year road together before they can actually be reunited. Carter's strong will and emotional investment towards Cash's condition, soon begin serving as the anchor that kept him from sinking even lower.

Both Phoenix and Witherspoon are an electrifying presence on stage, Carter's spunk serving to complement Cash's brooding demeanor, and their chemistry is highly palpable. It also becomes quite obvious that the only time Cash is ever really in control of his life is when he has his guitar in hand, using it as an outer expression of his inner feelings, commanding full attention from his audience, a feat that will no doubt be repeated with movie audiences, as well.

Over the years, the technology of animation has evolved quite nicely, replacing hand-drawn illustrations with more realistic computer-enhanced renditions.

While these blend better into our highly demanding high-tech medium, they simply cannot capture the magic and essence of the classic cartoons that many of us can be proud to say we've had the opportunity to grow up with.

While a cartoon, the film could just as easily be effective as a live-action romance, as it presents many human-based elements, the primary one here, being the distinction between social classes and forbidden love.

Darling and Jim Dear are a happily-married upper class couple who are seen enjoying a beautiful Christmas morning, when Jim presents his wife with the gift of an elegant cocker spaniel pup, whom they decide to name Lady.

Overtime, Lady becomes quite spoiled and pampered by her new owners, and soon, she begins wearing a new collar and license, an accessory that she is very proud of showing off to the neighborhood dogs.

Lady becomes quite comfortable within her life with the Dear family, but then, an unexpected event arrives with the pregnancy of Darling.

From that point on, Lady begins feeling neglected as the busy couple are seen making preparations for their impending arrival, and she worries that they will get rid of her to make room for the baby.

Once the baby is born, Lady finds herself warming up to the new addition of the family, but soon, she experiences another upheaval when evil Aunt Sarah arrives to care for the child while Jim and Darling are away.

Aunt Sarah doesn't want Lady anywhere near the baby, and to make matters worse, she has even brought along her two trouble-making Siamese cats.

After Aunt Sarah puts a muzzle on Lady, she runs away and finds herself into a shadier neighborhood where she is rescued by Tramp, a streetwise mutt who spends his time evading the net of the dog catchers, and begging for scraps of food in the back alley of an Italian restaurant.

Tramp takes Lady under his care, and begins teaching her about the ways of an unsheltered life, and predictably, they fall in love.

The film offers highly engaging and distinctive characters, memorable musical sequences, as well as one of the most romantic scenes in movie history, as Lady and Tramp share a spaghetti dinner.

Simply put, it is a time-enduring masterpiece that can either be viewed as a date movie by adults, or by a family looking to enjoy a movie night with the kids.

All too often, Hollywood films present their characters living the ideal existence. They have the perfect job, perfect marriage, perfect children. When the truth is, that life isn't always meant to be that way, unless you really work hard at achieving these goals. And even when it seems that you have everything you want, you always find yourself reaching for something higher.

On the surface, "The Weather Man" seems like your average lightweight comedy, and while it does provide plenty of dark humor, it is not without its brutal honesty of how one's life truly is. These depictions will either offend, or make the viewer relate to many of its situations.

David Spritz (Nicolas Cage) is a meteorologist for a small Chicago television station. His job isn't very fulfilling, and nobody gives him any respect, most especially, the passersby on the street who throw fast food containers at him. Meanwhile, he aspires to land a position on a national morning news program in New York, thinking that it will somehow solve all of the other issues in his life.

He has a hard time keeping the lines of communication open with his reproaching ex-wife, Noreen (Hope Davis), can't seem to connect with his two estranged children, who both have problems of their own, and must make the most of the limited time he has left with his ailing father, Robert (Michael Caine).

It's interesting to observe how David handles all of these developments. As in most of his other performances, Cage walks through his role with a sense of gloom and constant cynicism. But in this case, this disposition works quite well in evoking his character's hopelessness. This downplaying of emotions is effective in keeping reactions restrained and realistic, rather than over-the-top.

Life is in many ways like the weather in its unpredictability, and here, it shows us that we must always be prepared for whatever may come our way, no matter if it's clear or stormy conditions. There is also the ability of making brighter, more positive times break through even the darkest clouds of our existence.

In 2002, director Niki Caro offered us an inspirational New Zealand film, "Whale Rider", about a young girl who must overcome adversity and discrimination within a male-dominated environment.

Her latest film, "North Country", deftly and sensibly handles factually-based accounts regarding gender-equality and women's rights in the workplace, and how these issues have changed the face of the legal system over the course of the 80's and 90's.

Charlize Theron, who has won an Academy Award for another victimization film, "Monster", once again deglamorizes herself to portray Josie Ames, a struggling single mother who must support her two children after fleeing her latest abusive relationship.

Employed at a beauty salon, and in need of a more financially-secure job, she is recommended a position at a Minnesota mining plant by her long-time friend, Glory (Frances McDormand).

All seems well when Josie is first given the job, but soon, she and the rest of her female coworkers become the targets of both verbal and sexual assaults from the territorial male workers who do not like the idea of women taking over their job positions.

As the degrading harassment escalates from suggestive taunts, to physical altercations and obscenities scrawled with fecal matter on the locker room walls, Josie decides to take a stand against the mining company by bringing them to court.

For representation, she turns to Bill White (Woody Harrelson), a former hockey player who is now a lawyer. With a strong case on her side, Josie nonetheless needs the support of the rest of the female employees, whom unfortunately, are reluctant to come forward, for fear of losing their jobs. She is also met with strong opposition from the general community, as well as from her own father (Richard Jenkins), while her mother (Sissy Spacek) stands divided over this conflict, and remains on the sidelines.

The film somewhat becomes manipulative for the sake of emotional investment, especially during the courtroom sequences, and during a side plot involving Josie and her teenage son, Sammy (Thomas Curtis), but overall, it is a triumphant victory against a social barrier which had been ignored for far too long.

It seems that it is written in the Hollywood textbooks that every successful film will eventually spawn a sequel, or even an entire series.

Such is the case for the latest horror franchise best known as "Saw", a small, low-budget film which quickly became a highly bankable hit, and inevitably produced a sequel that was promptly released in just a year's time.

Whereas many lamented the amateurish style and performances of the first installment, it nonetheless presented a creative, gritty and tense premise, elements that were sorely lacking from the recent teen-friendly offerings.

Unfortunately, this sequel follows the same ideas, but with slightly different implications, and a lot less originality.

This time around, the same villain, the "Jigsaw" killer returns, but his victims have grown in numbers, from two people to a group of eight. Cancer-stricken Jigsaw, continues his mission to teach ungrateful people about the meaning of life, and ultimately, about the lack thereof.

The setup for Jigsaw's latest challenge is an abandoned house where his group of "players" are held captive. They are an assembly of seemingly random strangers who all have an unknown connection to each other. Meanwhile, air ducts throughout the house, are releasing a lethal nerve toxin, whose effects can be reversed by means of an antidote, an antidote that can be found, but not without first having to explore some elaborate and potentially deadly traps.

Investigating the Jigsaw case, is Detective Eric Matthews (Donnie Wahlberg), who soon learns that his wayward son, Daniel, is part of the group of young victims, which throughout, are being guided by Amanda (Shawnee Smith), who managed to survive Jigsaw's first orchestrated reign of terror.

Tobin Bell who portrays Jigsaw, is a lot more prominent this time around, and becomes an identifiable character, rather than just an invisible threat. Yet, the psychological head-games found in the first film, are substituted here, with predictable by-the-numbers carnage and basic horror movie clichés. The film also plays out like a television reality show, where contestants confined in the same living space, must compete against time, and against each other, to claim the final prize, in this case, their own lives.

Despite its shortcomings, the film offers up plenty of cutting edge material that is sure to satisfy the hardcore fans of the genre, which is a good thing, since it looks like Jigsaw's legacy will live on for a long time to come.

Cameron Crowe's latest signature brand of film-making heavily draws on personal experiences, and once again presents us with a man's journey through ambition, failure, and self-discovery.

Drew (Orlando Bloom), is employed as a footwear manufacturer. When his latest shoe design is rejected, thus causing a substantial financial loss for the company, he is then dismissed by his hard-driven boss (Alec Baldwin).

Adding to his problems, are his strained relationship with girlfriend Ellen (Jessica Biel), and an unexpected phone call from his sister (Judy Greer) and mother (Susan Sarandon), telling him that his father has just passed away.

Forced to set aside his suicidal contemplations, Drew must travel to his father's Kentucky hometown. On the way, he meets bubbly and free-spirited flight stewardess, Claire (Kirsten Dunst), and they soon begin a whirlwind, if not cautionary, romance, while Drew tries to deal with his quirky and eccentric relatives over such issues as funeral arrangements and burial versus cremation.

The film is heavily accentuated by pop culture references, as it soon becomes a nostalgic music video compilation of Drew's long-delayed road trip with his father.

All of these elements should easily serve as an uplifting and touching excursion along a path of realizations and personal growth, yet, it meets many dead-ends along the way.

Orlando Bloom is not a competent player in the center of a dramatic human study, and he seems rather lost without the bow and arrow he carries as the swashbuckling hero from the "Lord Of The Rings" saga.

There was also not enough emphasis on the dynamics of Drew and his family, nor were there any retrospective insight on the relationship he shared with his father, rather, preferring to replace this with endless all-night phone conversations between him and Claire, whom, because she is portrayed by Kirsten Dunst, just ends up being nothing more than annoying.

And then, there's the embarrassing tribute to dad, complete with Sarandon performing a tap-dancing number, which instead of being sentimental, only becomes cringe-worthy and laughable.

Overall, the film heads in too many directions, causing many to wish that it had better planned its route beforehand. Not to mention that watching it is nothing more that having to spend a couple of hours in the company of relatives you can't stand.

Director Curtis Hanson has consistently used literature as a center piece for his films, within the life of an English professor in "Wonder Boys", the undercover world of tabloid journalism in "LA Confidential", and the transformation of a struggling rapper through the inspiration of lyrics in "8 Mile".

"In her Shoes" is primarily a story about family issues, most notably, sibling rivalry, but with an underlying message about the importance of literacy in everyday situations.

The film which is adapted by Susannah Grant from a novel by Jennifer Weiner, is about two sisters who couldn't be any more different, other than their common shoe size.

Maggie Feller (Cameron Diaz) is a promiscuous party girl who seemingly gets through life with the help of her appearance alone. She has no sense of responsibility and cannot keep a stable job, which is in part due to a learning disability.

Rose Feller (Toni Collette) is a mousy lawyer who buries herself in work and only occasionally indulges in a romantic relationship. Suffering from low self-esteem, she uses her career as a means to feel appreciated and noticed by others. She is also the person Maggie calls on to rescue her after seemingly countless drunken episodes.

When Maggie's stepmother Sydell (Candice Azzara) becomes intolerant of her irresponsibility, she orders her to move out, causing Maggie to end up at Rose's place. When Rose leaves on a business trip, Maggie begins helping herself to some of her belongings which include her food, her clothing, as well as her boyfriend.

After a heated argument between the two sisters, Maggie is forced to move out once again. After discovering a collection of unopened childhood birthday cards, Maggie is then lead to a Florida retirement home in search of a grandmother she never knew existed.

Maggie's arrival at the retirement facility is initially welcomed with doubt by Ella Hirsch (Shirley MacLaine), when it becomes clear that Maggie is only there to ask her grandmother for a monetary handout which would allow her to go to New York to pursue an acting career.

Ella tells Maggie that she must earn a salary by helping around the community. Soon, Maggie becomes both fashion consultant and personal shopper for the residents, as well as begins caring for a blind former professor who helps her overcome her dyslexia by having her read poetry to him.

Meanwhile, Rose has resigned from her high-powered job to begin a dog-walking business. She has also embarked on a relationship with Simon (Mark Feuerstein), a former colleague, and they soon become engaged.

Eventually, both sisters begin to lead new lifestyles, with one learning about responsibility and the other about living a more carefree existence. After they reunite at the retirement home, they are brought together by their grandmother and by the family history they come to discover.

Unlike what the trailers might seem to indicate, this is not merely a starring vehicle for Diaz, as all three leading actresses present a solid ensemble contribution. Diaz lifts her trademark ditzy-blonde persona to a higher level of underlying intelligence and maturity. Collette once again relies on the heavily-portrayed case of the ugly duckling type that discovers its potential for beauty and finds its happy ending. And MacLaine shines in her limited material as the honest voice of wisdom that attempts to solve the more youthful conflict that unexpectedly becomes part of her life.

In conclusion, this is a film that can be enjoyed by both women and men, who will appreciate a lot more than just Diaz's skimpy attire. It is a perfect fit for everyone.

Gwyneth Paltrow has recently taken a leave of absence from the academic and literary influenced material she is best known for. After starring in insipid comedies ("View From The Top", "Shallow Hal"), and special effects concoctions ("Sky Captain And The World Of Tomorrow"), she has also devoted some time to her own personal roles as a new wife and mother. Now, she is back in "Proof" to remind us that she was once an Oscar winner, and that she may very well become one again once Academy recognition begins.

Reuniting with John Madden and David Auburn who both directed her in "Shakespeare In Love" and the London stage production of this film respectively, Paltrow portrays Catherine, a young woman who is seen wallowing in a reclusive and depressive state after the recent death of her father, Robert (Anthony Hopkins).

Catherine sacrificed her life and education in order to care full-time for Robert, a famous mathematician who has spent the remaining years of his life suffering from a gradual mental decline.

Catherine spends her days talking to her father, or at least, to imaginary apparitions of him, until two other people invade her sheltered life. Hal (Jake Gyllenhaal), a former student of Robert's, begins spending a lot of time around Catherine, with the intention of winning her affections, as well as to search through Robert's extensive collection of notebooks in the hopes of finding a highly-sought mathematical theory.

There is also Claire (Hope Davis), Catherine's compulsively organized older sister, who after having been absent during Robert's final years, has come back with the intention of taking charge of everything, from the funeral arrangements, to selling their father's house and bringing Catherine back to New York with her, only for the purpose of keeping a closer eye on Catherine.

It seems Catherine may have inherited some of her father's intelligence, but some of his instability as well. A question which is further explored when Robert's breakthrough formula is discovered and Catherine becomes insistent that she's the one who authored it, and not her father.

As was the case in the play, Paltrow once again takes center stage, as the film relies mostly on her performance. She exudes an endless tide of conflicting emotions throughout, as she struggles with both her father's death and the uncertainty of what is becoming of her own life.

Hopkins is always a strong performer, even in this film, where he only serves to offer us a few brief glimpses of the man he used to be.

Gyllenhaal may not be too convincing as the scholarly type, but he still succeeds as Catherine's enamored supporter.

Davis is also effective as the overbearing and controlling sister, and one is left to wonder if she's really looking out for Catherine's best interests, or just her own.

"Proof" is a film where intellectual and emotional elements add up to equal a very satisfying cinematic equation.

In the continuing tradition of director David Cronenberg's previous films, "A History Of Violence" takes an in-depth look at the gradual metamorphosis and primal urges of normal human beings. It is a slightly more subdued exercise, yet, it still carries its reliable traces of visceral sexuality and brutality.

Viggo Mortensen, stepping away from his "Lord Of The Rings" fame, portrays Tom Stall. Tom is living the American dream in an old-fashioned Indiana town where everyone knows each other, and in which any kind of aggressive act is seemingly non-existent. He is the owner of a diner and is both husband and father to beautiful lawyer Edie (Maria Bello), teenage son Jack (Ashton Holmes), and cherubic little daughter Sarah (Heidi Hayes).

Before closing time one night, Tom's diner is infiltrated by two dangerous perpetrators who begin harassing the employees and customers. Instinctively, Tom takes it upon himself to pull out a gun and kill the two men in a rapid and perfectly-skilled execution.

Soon, Tom is hailed as the community's hero through extensive media coverage, a title which Tom remains modest and reluctant about. The public exposure also brings along unwanted attention for Tom in the guise of a facially-scarred outsider by the name of Carl Fogarty (Ed Harris), and his pair of dark suits.

Carl claims to have associations and unfinished business with Tom, who in reality, is a man known as Joey Cusack from Philadelphia. Tom seems confused about Carl's allegations, and must convince his family that he is not the person he is believed to be.

Is Tom really the average man he claims to be or will he be forced to resort to a discarded identity he has until now succeeded in concealing? Mortensen really shines in his role as an outwardly soft-spoken and timid individual whose inner layers threaten to speak so much louder. Bello is quite solid as the supportive wife who finds herself both intrigued and repulsed by her husband's revealed persona. And young performer Holmes really holds his own opposite his adult costars, as the adoring yet doubtful son who must confront his father.

As the villains, Harris is highly menacing, as is William Hurt, who appears briefly in one of the movie's final sequences which begins with black comedy and ends in crimson carnage.

"A History Of Violence" is a title which promises and ultimately delivers what it implies, not only through its graphic depictions, but also through the questions it raises about human nature within different relationships and circumstances, asking us if it's possible for a person to find complete redemption.

It also examines the ripple effect of its subject and how far it extends onto others, an example which is shown in how Tom's son deals with a school bully.

With so many films which seem to glorify and condone violence these days, it's refreshing to see one that takes the time to demonstrate the repercussions that are so often ignored.

"Into the Blue" is a fall release that tries desperately hard to keep a firm grasp on a season gone by with its depiction of sand and surf. Looking like a pilot episode for the WB's newest teen prime time soap opera, this film showcases a cast of attractive people and their physical attributes, since any acting capabilities on their part are pretty much absent.

Set in the Bahamas, Jared (Paul Walker) is a renowned beach bum and recently unemployed lifeguard. Keeping him company is sexy girlfriend Samantha (Jessica Alba), who works as a shark handler at a marine exhibit. Jared aspires to make a fortune as a treasure hunter, a quest which is further pursued when his friend Bryce (Scott Caan) and his party girl love interest, Amanda (Ashley Scott) join the team.

Thus begins the group's underwater exploration which leads them to two discoveries, a legendary shipwreck containing an abundance of gold, as well as a downed cargo plane filled with bundles of cocaine.

The foursome then finds itself in a moral dilemma that involves claiming their bounty of wealth, which would also mean exposing the stash of drugs. Their plans are further complicated when a rival treasure hunter (Josh Brolin) and some drug smugglers become involved, both looking for their own piece of the prize.

As consenting viewers, we have to sit through endless sequences of deep diving and bickering before we finally get to the confrontation with the bad guys, and by that point, we don't really much care anymore. Until then, the film attempts to keep us interested with its visual aspects of aquatic creatures, as well as its human life forms.

The latter is depicted to great effect with its appreciative, if not perverse lingering shots of bikini-clad buttocks. Jessica Alba whose most recent work was in two comic book inspired projects, further extends to this film, since her character here is once again nothing but the rough draft of a caricature.

From a female perspective, Paul Walker is easy to look at, but his acting is nothing memorable, as he once again stands in as the pretty boy in the center of an action canvas.

Rounding up the set of adventurers, are Caan and Scott whose reckless and impulsive behavior dims any smart judgment they might have. Then again, it's doubtful they had much in the first place.

"Into The Blue" could be best compared to a useless day at the beach, minus the water-clogged sandals and sunburn, but bottom line, this is one treasure that is better left undiscovered.

One of the latest Miramax productions to leave the studio shelf after a lengthy hiatus is "An Unfinished Life" by director Lasse Hallstrom whose previous dramas have all focused on character-driven relationships within a small town setting.

Robert Redford portrays Einar Gilkyson, a disgruntled recovering alcoholic and Wyoming rancher. Besides his farming duties, he must also tend to the daily care of his former ranch hand Mitch Bradley (Morgan Freeman), whose injuries from a recent bear mauling have forced him to retire.

Einar is still grieving the death of his son in an automobile accident which occurred over a decade ago. But soon, he experiences setbacks in his recovery when his estranged daughter-in-law, Jean (Jennifer Lopez), unexpectedly arrives with her 11-year old daughter, Griff (Becca Gardner).

Jean has just fled an abusive relationship, and with no other available refuge, is hoping to find shelter in the only place she's familiar with. At first, Einar makes it clear that she isn't welcome in his home. For years, he has harbored bitterness towards her and has held her responsible for his son's death.

Eventually, he reluctantly agrees to allow Jean and Griff to settle into an unused storage room, and even begins warming up towards his newly-found granddaughter.

Jean begins to stabilize her life by getting a job at a diner while finding comfort and security within the affections of the town sheriff (Josh Lucas), and forming a friendship with a fellow waitress (Camryn Manheim), who is also dealing with a tragedy of her own. She also attempts to make progress in her reconciliation with Einar.

Meanwhile, outside enemies arrive on the homestead in the form of Jean's ex-boyfriend (Damian Lewis), returning to reclaim what is rightfully his, as well as the bear responsible for Mitch's injuries.

The film deeply emphasizes the subjects of forgiveness, the healing of both physical and emotional wounds, as well as being set free from life's personal trappings.

Robert Redford and Morgan Freeman, two long-established veteran performers, present a combination of easy chemistry and camaraderie throughout, reminding us of the companionship and wise guidance Freeman offered to Clint Eastwood's diamond-in-the-rough character in "Million Dollar Baby".

Jennifer Lopez relies on the battered woman role she portrayed in another domestic abuse film, "Enough", bringing both strength and vulnerability to Jean's attributes. Here, we can learn something from this film's message, and forgive Lopez for her participation in the disastrous "Gigli". It's obvious that she can be a very capable actress if given the right material.

As for newcomer Becca Gardner, she delivers a realistic and precocious insight throughout her role, serving as a solid anchor for all of the lost adults around her.

The bear also deserves an honorable mention for his largely noticeable presence which serves as an important symbolic element.

While some will find the convenient and precipitated resolutions of a decade-long feud a bit unrealistic, others will be charmed by the film's postcard scenery and satisfied with its happy ending.

In "Silence Of The Lambs", Jodie Foster proved to be a worthy opponent for cannibalistic serial killer Hannibal Lecter and his psychological chess game. She further demonstrated her capable resourcefulness in dealing with predators of another kind in the home invasion thriller "Panic Room".

Now, Foster returns in fine form to the suspense genre with "Flightplan", a film that draws many parallels to the last title, in the way it portrays a woman having to protect her child within the limits of a confined environment.

It also bears some resemblance to another film released in the last couple of months to take place aboard an aircraft, Wes Craven's "Red Eye", with both of them serving as a presentation of female empowerment.

Foster is Kyle Pratt, an airline engineer and a grieving widow, whose husband has recently died of an apparent suicide. She and her 6 year old daughter Julia (Marlene Lawston), board a state-of-the-art jet which Kyle helped design, to travel from Berlin to New York where her husband will be laid to rest. Her husband's high-tech casket is also being transported aboard the plane.

After settling down on the overnight flight, Kyle awakens from a brief nap to discover that Julia is no longer beside her. At first, she remains calm, thinking that Julia has simply wandered off nearby, but soon becomes frantic when she's unable to locate her.

She turns to the other passengers and flight crew for assistance. At first, they are concerned for her, but grow increasingly skeptical and even indifferent towards her the more agitated she becomes.

Kyle then decides to take matters into her own hands, and asks that the craft be thoroughly searched until her daughter is found. The captain (Sean Bean) allows her to circulate through the plane and conduct her search, just as long as she remains supervised by the air marshal (Peter Sarsgaard). Since Kyle designed the plane, she is familiar with its elaborate layout, giving her the advantage of exploring all of the compartments and passageways which make up its anatomical structure.

Kyle becomes even more distraught when all of the passengers insist they've never seen a little girl of Julia's description on the plane, and when the crew informs her that there is no record of Julia ever being a passenger on board. Is Kyle delusional? Is she having a nightmare? Is the loss of her husband perhaps too much for her to handle? Or has Julia really vanished and become a victim of some sinister plan? The film evokes a strong sense of paranoia as it asks the question to both Kyle and the audience, are these people to be trusted or doubted? There is even a sequence which involves stereotypical and racial stigmas, when Kyle suspects a couple of Muslim passengers of having harmed her child.

For the most part, "Flightplan" is convincing due to Foster's intense performance. Her distress and urgency are highly palpable and transcend onto its audience, tapping into its innermost fears.

Admittedly, this film does have some moments of turbulence during the course of its flight, but it still succeeds in making you think twice about traveling what might be not so friendly skies.

In a society of escalating war, terrorism and youth violence, comes "Lord Of War", a film which studies the alarmingly accessible weapons market and its universal impact.

From its opening shots, the film almost feels like a documentary, with our reluctant hero Yuri Orlov (Nicolas Cage), looking like a weary reporter standing amidst a carpet of bullet shell casings and a backdrop of destruction.

His narration begins as an introduction to the subject at hand before launching into his own life and the profession he has grown to question over the span of his twenty-year experiences.

Yuri is a Ukrainian immigrant who now resides in New York's Little Odessa district. Having grown up in a neighborhood where death was a daily occurrence, he realizes that there's a highly profitable demand for ammunition.

Uninterested in working for his family-owned restaurant, he decides to become an arms dealer, and brings his younger brother Vitaly (Jared Leto) along on the venture, until Vitaly begins a downward spiral into drug addiction and must be left behind at a rehabilitation facility.

Yuri carries on a remarkable salesman pitch, presenting his merchandise as casually as someone who might be promoting household appliances. Soon, he sees his clientèle evolve from civilian buyers to prominent world leaders in battle-torn countries which benefit greatly from Yuri's contributions. He even forms a lucrative, and somewhat risky alliance with a ruthless African dictator (Eamonn Walker).

Meanwhile, Yuri sets his sights on supermodel Ava Fontaine (Bridget Moynahan), his longtime boyhood crush whom he manages to charm and eventually marries. For the most part, Ava remains unsuspecting of Yuri's job, but soon begins to wonder about her husband's lengthy business trips, especially when an Interpol agent, Jack Valentine (Ethan Hawke), who has been tracking Yuri, comes knocking on her door asking a lot of questions.

At the center of all the exterior conflict, lies Yuri's inner battle between his conscience and the lure of wealth. As much as he tries to justify his role and all the implications, he can't help but feel remorseful, especially when his indirect involvement eventually becomes all too personal.

"Lord Of War" hits all of its targets by demonstrating its ensemble of strong performances, as well as by being more than just an action movie, but one that carries a political and moral message which never falls under the weight of heavy-handed preachings.

Reese Witherspoon is rapidly establishing herself as the new queen of romantic comedies. With her highly bankable charm and likability, no doubt she will be able to fill Meg Ryan's shoes, which have seemingly become discarded as of late.

While most romantic comedy clichés have been exhausted and recycled time and time again, "Just Like Heaven" presents its formulaic scenarios on a much higher plain, transcending the laws of corporeal existence, and elevating itself to spiritual levels.

The film whose title derives from The Cure's 80's pop anthem of the same name, first introduces us to Elizabeth Masterson (Witherspoon), a dedicated doctor who often works round-the-clock shifts in the hopes of landing a promotion. Her patients' lives always come first, so much so, that Elizabeth's own social life suffers from it. Ordered to go home and get some rest, a caffeine-infused Elizabeth finds herself on the receiving end of a head-on collision with an overbearing truck.

Meanwhile, we meet David Abbott (Mark Ruffalo), a brooding and slobby former architect in search of an apartment. We see him rejecting every one he is presented with, simply because he doesn't like the sofa. Finally, an advertisement leads him to a subleased apartment which meets his expectations.

Soon after he's moved in, David gets an unexpected visitor in the guise of its former resident, Elizabeth, or at least, the spirit of Elizabeth. Both consider each other trespassers and order each other to vacate the premises. Elizabeth is disgusted at the way David carelessly litters her immaculate apartment, and David doesn't like how she keeps appearing everywhere he goes. David begins wondering if he's crazy. Is he hallucinating? Is he having beer-induced visions? He even employs a priest and a ghost-busting team to rid his apartment of the pesky presence, all to no avail.

Eventually, David begins anticipating Elizabeth's appearances and even begins feeling drawn to her. Both of them team up in order to find out more about what happened to Elizabeth and about the life she seemingly left behind, making each other realize that they have both been letting their lives pass them by.

While the film is for the most part lightweight, it subtly refers to the recent headline controversy surrounding life-support recipient Terri Schiavo, especially after it is known that Elizabeth has not passed on, but instead, has gone from being a part of the hospital's staff to one of its patients, as she lies in a comatose state.

Witherspoon and Ruffalo play off each other's strengths very well, with Witherspoon's vibrant energy contrasting and complementing Ruffalo's restrained skepticism. He is not what one would usually consider a classic heartthrob, but his quiet vulnerability and endearing boyish demeanor are traits that women can easily be attracted to, thus making him a very convincing romantic lead.

The supporting members are also quite efficient, especially Jon Heder, who riding on the overnight recognition he achieved from the over-hyped "Napoleon Dynamite", fills in a brief role as the clerk of a shop which specializes in occult literature.

"Just Like Heaven" is in no way deep or original, but it will offer a pleasant enough ride atop what could best be described as a fluffy cloud.

We've seen it many times before. From "Miami Vice" to "Lethal Weapon", and furthermore in "Rush Hour", the cultural and personality clash of mismatched allies unwittingly working together has long become an established formula.

The newest unlikely pairing comes in the guise of Eugene Levy and Samuel L. Jackson, two individuals who stand at the furthest polar opposites from each other, both relying on their stereotypical persona of the tough guy and the bumbling nerd to illustrate this contrast.

A routine business trip from Wisconsin to Detroit turns into an unexpected case of mistaken identity for Andy Fiddler (Levy), a dental supply salesman, while heading to a convention.

Upon his arrival, he coincidentally crosses paths with Derrick Vann (Jackson), a federal agent who just happens to be dealing with the death of his partner and a stash of stolen firearms. From then on, Derrick uses Andy in his scheme to recover the weapons and expose the leader of the operation (Luke Goss). Andy, who is believed to be a participant in the whole criminal dealings, has no other choice but to cooperate with Derrick and solve the case in time to make it to his convention the next morning.

"The Man" employs the usual rules of buddy movies, as we see the two leads initially teaming up with reluctance only to inevitably become accustomed to each other in the end. Both discover that they can learn from one another, with Andy teaching Derrick to be more trusting and more appreciative of family values, while Derrick teaches Andy to be more assertive.

Levy and Jackson's combination is effective to a certain degree, due in great part to the clear distinction between positivity and negativity which emanate from both characters, the two elements nonetheless blending together to create highly compatible opposites.

Unfortunately, this exuded chemistry cannot sustain the rest of the material which all too often resorts to extensive flatulence sequences, resulting in two heavyweight actors floating on nothing more than hot air in a film that practically has no other substance and that lingers unpleasantly, long after it has passed.

After a series of unnecessary sequels and prequels to the classic 1973 film which started it all, "The Exorcist", "The Exorcism Of Emily Rose" attempts to present itself as an original endeavor. It may be original in the fact that it's the first horror film to camouflage itself under a primary legal drama, but maybe not as much when you consider that it's based on a previously publicized real-life case involving a German girl in the 1970's.

The film is first and foremost a courtroom procedure which relies more on factual dialog rather than physical occurrences. Of course, it is occasionally punctuated by the obligatory startling jolt, but here, it is used to accentuate certain details, and not merely as a reactionary prop.

Emily Rose (Jennifer Carpenter), is a young girl who has been raised by a devout Catholic family. Not long after leaving her desolate farmhouse to attend a city college, she begins developing unnatural physical and psychological manifestations.

The film presents Emily's story after her tragic death, via courtroom testimony and recalled flashbacks, during which a priest, Father Moore (Tom Wilkinson), is standing trial for negligent misconduct following a failed exorcism attempt which is believed to have caused Emily's unfortunate ending.

Assigned to defend Father Moore is Erin Bruner (Laura Linney), a borderline alcoholic, who still feeling guilty over the outcome of a previous murder trial, agrees to take on the case in the hopes of ascending the ranks of her career. Despite her representation of a religious subject, Erin is an agnostic, but soon, she begins reevaluating her beliefs, after she seemingly becomes stalked by ominous presences and indications during the darkest hours of the early morning.

Opposing her, is Ethan Thomas (Campbell Scott), a man of Catholic faith, yet, one who finds the whole hocus-pocus nonsense of evil spirits a ridiculous concept. He attempts to prove that Emily was not suffering from a spiritual imbalance, but rather, from a more believable medical ailment. It seems Emily was a schizophrenic/epileptic patient, which would explain her contorted seizures and hallucinations.

The film is somewhat of a mentally interactive one as it asks that the audience draw up its own conclusion of what it believes really contributed to Emily's condition.

As for the possession sequences, they are presented in a more realistic fashion, remarkably more subdued than the ones delivered by Linda Blair, and without the use of vulgar expletives.

While it won't have the ability to make viewers faint while watching it, it will instead leave them with a lot to ponder.

An inevitable sequel to its 2002 predecessor (which I have never seen), "Transporter 2" reintroduces its multi-purpose action hero, Frank Martin, whose driving and crime-fighting are all part of a regular day's work.

Jason Statham is a debonair, albeit, inferior James Bond wannabe. Overall, he's not a very impressive actor, but as an action man, he's rather efficient in the material he's presented with.

The material in question is nothing more than a montage of implausible stunt sequences and cartoon villains conjured from the creativity of director Louis Leterrier and French screenwriter Luc Besson, in the kind of child abduction avenging scenarios we have seen executed many times before, in a much better fashion.

Seeming to borrow elements from one such example, "Man On Fire", Frank is assigned to chauffeur Jack (Hunter Clary), the young son of a wealthy couple (Amber Valetta, Matthew Modine), on his daily route to and from school. It is soon obvious that there's a strain in the couple's marriage, and beneath the wife's gratitude towards Frank, there is also an undercurrent of attraction as well.

Soon, the boy is kidnapped by drug ring smugglers who intend to use Jack as a human weapon by injecting him with a lethal virus which would ultimately infect those around him.

Suspecting that more than just a simple ransom demand is involved, Frank sets out to locate both the boy and obtain the antidote to the administered virus before it's too late.

Because the whole premise is overly outrageous and because the villains are more slapstick than threatening, the viewers are never inclined to invest much sympathy towards the victims or any interest in the outcome.

Otherwise, if you're looking for a last dose of mindless entertainment from the late summer's leftovers, or simply looking for a temporary substitute until the next James Bond installment, this film should be quite effective.

The rites of passage from boyhood to manhood have often been a cinematic staple, in such memorable titles as "Animal House", "Porky's" and "Revenge Of The Nerds", to the more recent "American Pie" films. Adding to that, are most of the Farrelly Brothers productions which have further tested the boundaries of sexual humor.

While the majority of these examples depict a high school or college demographic, the latest trend seems to focus more on grown men who have not quite reached that one specific level of maturity in their juvenile pursuit of sexual gratification.

Following the breakout success of the similarly raunchy comedy, "The Wedding Crashers", comes this film, which has also managed to defy the curse of the sanitized PG-13 rating that has plagued and minimized so many potentially good films.

Steve Carell whom we have previously seen in television sketch shows and in supporting roles opposite comedy kings Jim Carrey and Will Ferrell, co-wrote alongside director Judd Apatow, and stars in his first leading vehicle.

Andy Stitzer is socially challenged, living his life with childish innocence. An electronics store employee, he also boasts a vast collection of vintage action figures, plays video games, entertains himself with solo karaoke sessions, as well as watches reality shows with his elderly neighbors. Also, his method of transportation is a bicycle.

During a poker game with his coworkers (Paul Rudd, Romano Malco, Seth Rogan), it is revealed that Andy has never engaged in sexual intercourse. Of course, he's had plenty of opportunities which always failed to meet his expectations, so he eventually just stopped trying.

From that point on, his friends, who are also all dealing with relationship issues of their own, become determined to initiate Andy to the world of dating and eventual mating, leading him through both his physical and psychological transformation, introducing him to nightclub outings, a body-waxing appointment, and a various assortment of pornography material.

Eventually, Andy meets Beth (Elizabeth Banks), a bookstore clerk, and furthermore, Trish (Catherine Keener), a single mother who runs an independent business selling merchandise to Ebay. Andy begins developing feelings for Trish, but has to struggle with posing restrictions in his relationship with her, and not revealing his state of prolonged "celibacy".

Had this film starred Tom Green or Rob Schneider, for example, the result would have undoubtedly been less effective. Carell offers refreshing insight into a overused plot subject, presenting Andy's situation with sincerity, sensibility and endearing awkwardness rather than turning his performance into one of chauvinistic exploitation.

Like "Wedding Crashers", this film turns its third act into a showcase of moral sentimentality, and despite all its strong attributes, the material unfortunately begins wearing thin before it finally reaches its satisfying climax (No pun intended).

80's horror director, Wes Craven, helped carve a mold for the slasher genre made so prominent in that particular decade, most notably with the "Nightmare On Elm Street" series. In the mid-90's, Craven injected some new blood into the tired formula with the "Scream" trilogy, which is probably his last memorable project if you choose to disregard the recent campy and aptly-titled werewolf saga, "Cursed".

With his latest entry, "Red Eye", Craven adopts a slightly new approach, albeit, still resorts to his signature blend of suspense and tongue-in-cheek humor, while focusing more on the aspect of thriller rather than horror, presenting the enemies in human form, rather than with the immortal brand of disfigured "monsters". It is both a concoction of damsel in distress elements with a current of political undertones, addressing the fundamental paranoia in regards to terrorist implications.

"Red Eye" begins as a study of air travel nightmares, a subject which could almost be a horror film in itself, with its depiction of overcrowded terminals, delayed schedules and disgruntled clientèle.

One passenger is Lisa Reisert (Rachel McAdams), an obvious workaholic, en route from a family funeral in Dallas back home to Miami. Lisa, a luxury hotel manager, is always level-headed and cool under pressure, relied upon to solve any type of spontaneous situation. Little does she know that soon, she will have to use those skills in another such emergency of greater magnitude.

While awaiting the departure of her impending flight, she meets Jackson Rippner (Cillian Murphy), who gallantly comes to her aid while she tries to defend an airline employee against an obnoxious passenger. Soon, Jackson and Lisa begin engaging in some flirtatious bantering until they finally board their plane and seemingly go their separate ways.

Aboard the aircraft, Lisa and Jackson find out that they are seated next to one another. Is it a coincidence? Maybe not.

Soon after the plane has taken off, Jackson's demeanor takes a drastic turn, as he exposes his true identity and intentions to an overwhelmed Lisa. It seems Jackson is an assassin who is counting on Lisa to accommodate his plans to eliminate the deputy secretary of homeland security (Jack Scalia). If she refuses to cooperate, her father (Brian Cox), will be killed by someone standing guard outside his home.

For the most part, "Red Eye" is a restrained psychological interaction, up until the last reel, when it shifts into chase sequences and the standard game of hide and seek between the stalker and its prey.

We learn early on in the film that Lisa has experienced another violent altercation in her past, and so, it's to be expected that she eventually transform from a defenseless bystander to a resourceful fighter, refusing to allow herself to be victimized once again.

Rachel McAdams, is a versatile performer whom we have previously seen in Rob Schneider's gender-bending comedy, "The Hot Chick", a study in high school cliques and the endless pursuit of popularity in "Mean Girls", the southern romantic tearjerker, "The Notebook", and recently holding her own alongside Vince Vaughn and Owen Wilson in the summer hit "Wedding Crashers". Now, she convincingly adds action heroine to her growing repertoire, with a conveyance of both great vulnerability and underlying strength in her attempt to keep a firm grasp on her control.

Charismatic Cillian Murphy who has once battled zombies in "28 Days Later", and embodied a villainous character in the latest "Batman" installment, "Batman Begins", continues his evil streak, proving that charm and good looks can be highly deceiving.

McAdams and Murphy share palpable chemistry, essentially carrying the entire movie on their own, with the supporting cast serving as a mere background to the duo's dominant presence.

At just under 90 minutes, the film moves swiftly, while still managing to cover all of the bases in each of its three separate tableaux.

Overall, "Red Eye" is a trip you can enjoy without all of the usual inconveniences of modern air travel.

"The Skeleton Key" is one of the rare horror films to be released recently which isn't based on either a foreign production or a classic remake. Rather, it seems to aspire in achieving the status of some of the more memorable mysteries reminiscent of "The Others" and "The Sixth Sense".

Kate Hudson leaves behind her typecast persona as a romantic comedy lightweight, in order to tackle more heavy-handed material in another film which chooses atmosphere, character interactions and unseen adversaries over graphic gore and hulking killers, a strategic trend which has been successfully executed earlier this summer in its other subtle thriller, "Dark Water".

Hudson portrays Caroline Ellis, a hospice worker, who decides to resign after she becomes unsatisfied with the health care system and the impersonal treatment administered to its patients. She also struggles with both her father's death and the loss of a beloved patient.

Soon, Caroline replies to a newspaper ad which is recruiting someone to fill the position of a residential caregiver. The residence in question, is an imposing and decrepit plantation house, nestled deep within a Louisiana Bayou.

Upon her arrival, Caroline is met with reluctance by Violet (Gena Rowlands), who insists that Caroline wouldn't be good enough, since she's an outsider, and because she's not familiar with the house's layout or with its history.

Yet, Violet's estate attorney, Luke (Peter Sarsgaard), convinces her to give Caroline a chance, and so, she becomes hired.

Caroline's duty is to care for Violet's ailing husband, Ben (John Hurt), a stroke and paralysis victim who is mute and confined to a wheelchair. It doesn't take long for Caroline to sense that something is wrong when she notes the removal of all the mirrors throughout the house, Violet's guarded and suspicious behavior, and Ben's agitation and obvious desperation to warn Caroline about something.

Caroline is given a master key which would allow her access to every room in the house, that is, every room except one, the attic, which is where Ben apparently suffered his stroke.

Because most horror films call on curious protagonists to explore strange sounds, and as yet to be discovered areas, Caroline decides to gain entry and explore the concealed attic, and stumbles upon all of its contents, which include old family portraits and various Gothic artifacts.

Like "The Ring" which relied on a videotape and VHS recorder, this film also puts to use obsolete technology with a phonograph and a vinyl disc which contains a recording of sacrificial chants.

Progressively, Caroline's investigation leads her to learn more about the house's history and its former occupants, a wealthy family and its mistreatment of its servants. It seems the servants involved the family's two children in a ritualistic ceremony, and as a result, have been executed through burning and hanging.

The tightly-woven developments eventually unravel into a climax that could be either seen as effective or over-the-top, concluding in what it hopes will be another heavily-used M. Night Shyamalan gimmick, the unsuspected twist ending.

As for the actors, they all deserve a positive mention. Rowlands does a good job evoking both a subdued outward composure and an internally simmering menace. Hurt, who doesn't communicate vocally, must instead rely on body language to express his terror of impending threats. And last but not least, Hudson is a convincing heroine who despite the circumstances, still remains level-headed and resourceful, much like Jennifer Connelly displayed in "Dark Water", both of them equally managing not to succumb to the standard trappings of exaggerated horror film theatrics.

This movie may not offer the same punch as previous studies of lingering presences, but its door is still worth unlocking and stepping through.

John Singleton, who has long ago established himself as a visionary director of groundbreaking racial and street-influenced urban dramas, offers his latest effort, "Four Brothers", a film which effectively blends subtle and exhausting psychological anguish with unrestrained physical manifestations of restless and violent revenge.

The film, set in wintry Detroit, begins on the threshold of the holiday season, where Evelyn Mercer, an upstanding citizen, and the community's Good Samaritan of sorts, is gunned down during what seems like a random convenience store robbery.

Much like someone who would take in an abandoned stray animal, Evelyn had made it her lifelong mission to rescue and shelter wayward youngsters who originate from a life of crime and broken homes.

Bobby (Mark Wahlberg), Angel (Tyrese Gibson), Jeremiah (Andre Benjamin) and Jack (Garrett Hedlund) are brothers, not by biological ties, but because they were raised together by Evelyn after her inability to locate willing foster families for them.

Bobby is a headstrong individual, whom despite his salvation, has never much been able to leave trouble behind him, and has spent some time in prison, Angel is a womanizer who loves to show off his sexy Latina girlfriend, Jeremiah is a reformed business and family man, and Jack is an aspiring musician.

After having gone their separate ways, the quartet reunite, albeit, under unpleasant circumstances, for their foster mother's funeral, and thereafter, assemble at their childhood home where they are seen experiencing a few private moments of grief and sharing a subdued, reflective and nostalgic Thanksgiving dinner.

Seeking answers to Evelyn's unjustified death, the brothers begin to investigate, and soon realize that her murder was not a spontaneous act, but rather, a premeditated plan.

Feeling that law authorities aren't doing enough to solve the case, the foursome set out on their own to locate the people responsible and to serve their own brand of justice, during which they encounter corruption from city officials and from a menacing gang lord, Victor Sweet, who isn't at all like what his name implies, and whose method of manipulation and control is to publicly humiliate his henchmen.

There is also the arising issue of life insurance fraud, which causes a shade of suspicion and blame to be cast upon one of the brothers.

The movie carries over distant echoes of a John Wayne western entitled, "The Sons of Katie Elder", with the vast country expanses, replaced here, by a claustrophobic setting of imposing tenements and cold concrete.

The atmosphere nicely conveys a melancholy mood with its scenes of frigid, icy conditions which almost seem to melt away under the calm, smoky strains of Motown tunes.

The male-dominated cast demonstrates the competent acting talents of, what is for the most part, an assembly of hip-hop artists. One such star is Mark Whalberg, who can also add Calvin Klein modeling to his credentials. Over the years, he has proved himself as a strong lead, capable of deftly and confidently guiding and supporting ensemble pieces, as was the case in the recent remake of another crime caper, "The Italian Job".

Despite all of the action and violence, the film nonetheless succeeds in its study of interracial relationships, the hardships of street life and family values, and most of all, concludes with a satisfying payoff.

Upon reading other reviews for this film, the general consensus seems to be focused on the overall inconsistencies between this silver screen presentation, versus its originating small screen inspiration.

Not having seen the series, either during its first-run format, or even now, in its eternal syndicated existence, I had the advantage of enjoying the film as it was. Taking it at face value, and not concerning myself over what it attempted to be, or even failed to be.

Seann William Scott and Johnny Knoxville portray reckless cousins, Bo and Luke Duke, whom we see steering around the county of Hazzard in their pride and joy, a classic Dodge Cruiser affectionately named the "General Lee".

This serves as their getaway vehicle as they deliver supplies of moonshine for their uncle Jessie (Willie Nelson), while evading the law at the same time.

Out to get Bo and Luke is Boss Hogg (Burt Reynolds), the imposing town official who wants to possess the land of Hazzard, including the Dukes' home property, and convert it into a strip-mine.

Boss Hogg goes about setting his plans into motion by scheduling a town committee meeting to coincide with an anticipated derby race which would feature the participation of Billy Prickett (James Roday), a famous racing legend, that Bo and Luke plan to compete against.

The film retains an atmosphere of the 70's era throughout, despite its taking place in the present time. It also contains the usual southern stereotypes and ethnic misunderstandings, which soon become the movie's central joke.

Scott and Knoxville are quite effective, with Scott more or less carrying over his persona from the "American Pie" franchise, while Knoxville stands in as the expected macho stuntman, although his stunts here are a little more subdued than his previous offerings.

Jessica Simpson, the latest pop starlet to make the transition from music to movies, isn't given much to do here, except being used as a mere sexual prop, as well as for her vocal contribution to the soundtrack. As Daisy Duke, she executes nothing more than shedding her clothing in order to manipulate uncooperative authority figures.

In conclusion, if you're willing to overlook its occasional shortcomings, "The Dukes Of Hazzard" can quite possibly become a very enjoyable ride.

At a time when documentaries are gaining progressive interest and are seeing wider exposure and release into mainstream multiplexes, it has been an opportune strategy to unveil this latest informative excursion into theaters, where it has surprisingly surpassed even some of the summer's bigger, albeit, stale ambitions which have ended up failing to impress.

Hollywood actor Morgan Freeman narrates this natural wonder as seen throughout the frigid exploits of French director, Luc Jacquet.

The film chronicles the incredible annual journey of the Emperor penguins as they leave their habitat and travel across endless miles in order to assemble at their designated breeding ground.

From there, we see them attempting to locate a mate, and going through the process of "consummating" their union.

Amazingly, their courtship methods are not so unlike our own, and in many respects, they are reminiscent of humans, often resembling a wealthy society gathering at a formal event.

Once the conception has been completed, the penguins must cooperate together in sharing responsibilities and protecting each other from both the unforgiving elements of the endless winter season and from wild predators alike.

In awaiting the birth of their offspring, the penguins must overcome starvation, separation, and harsh climactic conditions, and unfortunately, many of them don't survive long enough to greet their young ones into the world.

Once the eggs are completely formed and begin to hatch, it becomes a whole new method of survival as the proud and doting parents must oversee the protection and well-being of their newborn chicks.

The display of community and family bonds is incredible, as are the expressions of attachment, grief, determination, and altogether sense of instinct.

The cinematography is flawless in the way it presents the sprawling, lifeless, white landscape of winter as a background to the black masses of striving and vital creatures. It is a stark contrast between nature's unavoidable tragedies and its welcomed miracles. The accompanying musical score also underlines the atmosphere quite nicely.

In our civilization of greed and emphasis on material luxuries, we could really learn a lesson about selflessness, sacrifice and placing priority on more fundamental aspects of living, through this inspirational film.