A BEAUTIFUL MIND -- (Grade: A) Russell Crowe's characters have heretofore been manly men. He's played rough, tough men of loyalty and uncompromising principle who'd rather fight than have their honor questioned. In A Beautiful Mind, Crowe plays troubled John Forbes Nash Jr., a man who badly wants to be a strong intellect. The brilliance of the movie is watching Crowe as Nash crumble before your eyes. A Beautiful Mind is a loose biopic that follows Nash's journey from his break-though mathematical discovery and acceptance into top-secret government work to his eventual breakdown. Jennifer Connelly continues her comeback with a fine performance as Nash's unfailing wife. In this Oscar hopeful season, A Beautiful Mind is one film that completely deserves its accolades. -- RP (Rated PG-13.)

BEHIND ENEMY LINES -- (Grade: D) Behind Enemy Lines is either a response to the current military crisis or a not-so-clever bit of counter programming in light of Tony Scott's new blond-boys-in-trouble pic Spy Games. Director John Moore tells a prefabricated story that's a second-rate knockoff of Top Gun, Crimson Tide and Enemy of the State. Behind Enemy Lines covers a military action to retrieve an American pilot (Owen Wilson) who is shot down during a reconnaissance mission over Bosnia. If a film like Behind Enemy Lines is how Hollywood is going to help bolster our spirits, then maybe its time to ask Hollywood to start by boosting its IQ. -- ttc (Rated PG-13.)

BLACK HAWK DOWN -- (Grade: A) Mogadishu. October 1993. U.S. Rangers and Deltas embark on what was supposed to be an hour-and-a-half infiltration mission to capture two lieutenants of a renegade warlord. Seventeen hours later, two Black Hawk helicopters have been destroyed and the U.S. forces have lost 18 men in the most intense and sustained firefight since the Vietnam War. Director Ridley Scott (Gladiator, Hannibal) and producer Jerry Bruckheimer take us inside the brutal and labyrinthine Somali streets in what will prove to be a classic feature of combat. With such a propulsive line of action and a first-rate cast in fighting form, it's a shame to single out individual performers, but Josh Hartnett and Eric Bana shine especially bright. Black Hawk Down honors its subject with a sense that's both relentless and direct without being a polemic or a Hollywood version of the events. The soldiers are not fighting for a flag or a directive to save one man. The film's tagline, "Leave No Man Behind" is not some politically correct mantra -- it's what makes men heroes. It becomes a strong reminder that war is about surviving in the moment; ideals and slogans are the before and after. -- ttc (Rated R.)

BLACK KNIGHT-- (Grade: F) Martin Lawrence is something of a performer. He has the out-sized personality and the opportunities to expose his brand of sass to millions. Now he just needs to figure out a way to turn his performances into something remotely entertaining. In Black Knight, Lawrence doesn't just flip the script -- he throws it out the window. In one almost-funny sequence, Lawrence becomes a bandleader in the James Brown mold and gets medieval to Sly Stone's "Dance to the Music." Lawrence's manic goofiness had a certain charm. But with the limits relaxed on the big screen, he suffers from too much idle time. Maybe Lawrence should stop performing and try acting. -- ttc (Rated PG-13.)

BROTHERHOOD OF THE WOLF -- (Grade: B) A mysterious woodland monster meets kung fu heroics in director Christophe Gans rousing update on the Hammer horror film. The Brotherhood of the Wolf (Le Pacte des loups in its native France) follows the adventures of naturalist Grégoire de Fronsac (Samuel Le Bihan) and his Mohawk-Iroquois partner Mani (Marc Decasos) as they search the 18th-century French countryside for a bloodthirsty beast. Along the way, a pretty noblewoman (Emilie Dequenne) and a sultry witch (Monica Bellucci) help Fronsac solve the mystery. Gans keeps screenwriter Stephane Cabel's pulpy storytelling moving at a fast pace. There's no time to complain about the ludicrous plots and hammy acting. Lush period details and sweeping photography complete the childlike package. With The Brotherhood of the Wolf, Gans has made a moviemade comic book that makes most Hollywood epics look dull by comparison. -- SR (Rated R.)

CHARLOTTE GRAY -- (Grade: D) Currently, literary adaptations are the rage of the American film world. Charlotte Gray is the latest, and sadly listless, edition of the book-to-screen trend. Gillian Armstrong goes the Lasse Hallström route with a film that wears its badge of prestige proudly on the face of Cate Blanchett, who is presented as the epitome of our romantic notions of World War II. Billy Crudup is supposed to be the young Frenchman who steals her heart. He is quickly on his way to becoming the thinking person's hero in the way that Tom Cruise might belong to those who would rather not think so much. Thinking quickly becomes the downfall of Charlotte Gray. It's ill-conceived spy girl plot never develops into a story about either love or war. The Blanchett and Crudup romance fails to prove the necessary grounding. Charlotte Gray is less about their characters and their situations than a vehicle for audiences to appreciate the individual charms of these two performers. In fact, I spent a good deal of time thinking about their next roles. Hopefully, they won't choose another literary adaptation. If they do, Blanchett and Crudup need to make sure that the project is about something other than their faces. -- ttc (Rated PG-13.)

THE COUNT OF MONTE CRISTO -- (Grade: C) The Count of Monte Cristo is Alexandre Dumas' classic tale of Edmund Dantes, a falsely imprisoned man (James Caviezel) who escapes from captivity and hatches a Machiavellian plan to take vengeance with the assistance of a recovered fortune. In a surprisingly natural twist on the original story, Dantes' main accuser Fernand Mondego (Guy Pearce) happens to be a jealous childhood friend and rival for the affections of Mercedes (Dagmara Dominczyk). Director Kevin Reynolds forsakes his on-again-off-again buddy Kevin Costner to his benefit. Reynolds has a good sense for action and a simple story without the trappings of a star vehicle. Caviezel and Pearce bring a solid sense of character to their roles and never succumb for the epic overacting that frequently accompany such costume dramas. Caviezel, in particular, handles the shift from innocence to cunning through his physical carriage and the intensity of his gaze. But it is character actor Luis Guzman who steals the show as Caviezel's manservant. The lightness he brings is the timeless touch that is guaranteed to please audiences seeking nothing more than a bit of entertainment beyond the Oscar releases that are supposed to be good for us. -- ttc (Rated PG-13.)

DOMESTIC DISTURBANCE -- (Grade: F) John Travolta is ready for his next comeback. I say "comeback" because, even though he's been here, I wish he hadn't. Not in this shape. And that goes double for Vince Vaughn. These two come together for a little Domestic Disturbance, which succeeds only in dumbing down Hitchcock's philosophy of suspense. We see the bad guys (Vaughn and a Steve Buscemi cameo barely worth the price of a ticket) a mile off. We cheer for the good guy (Travolta) as he defeats the bad guy and saves his son (Matthew O'Leary), ex-wife (Teri Polo), himself and whoever else (the audience) happens to be in double jeopardy. Comeback? Better yet, John, why not really go away for a while and then try it for real? -- ttc (Rated R.)

GOSFORD PARK -- (Grade: B) On paper, Robert Altman's Gosford Park sounds like an Agatha Christie remake. It's 1932 and a shooting party gathers at a posh English estate. By the end of the weekend, someone will be murdered -- twice. The police are baffled, but the servants of Gosford Park have their own theories about the identity of the murderer or murderers. Sir William McCordle (Michael Gambon) and his young wife, Lady Sylvia (Kristin Scott Thomas), have invited family and assorted friends to their country estate for a genteel shooting party. Most of the guests' conversations revolve around Sir William's money or their need for some of it. When a murder disrupts the elegant gathering, it's Constance's maid, Mary Maceachran (Kelly Macdonald), who begins to unravel the source of the foul play. In context, Gosford Park tells a story similar to Jean Renoir's 1939 film, Rules of the Game. Both films focus on the synergistic worlds of the downstairs servants and their upstairs, upper-class employers. But in spirit the bitter Gosford Park and the humanistic Rules of the Game are worlds apart. Altman's smug and cynical film stands on its own merits. The intrigues are purposefully complex. Its murder mystery matches the scope and scale of Gosford Park's impressive ensemble cast. The film reaches for something more substantial that sheer entertainment. Altman's trademark sarcasm makes Gosford Park an enjoyable murder mystery. -- SR (Rated PG-13)

HARRY POTTER AND THE SORCERER'S STONE -- (Grade: D) Little humor, fun or feeling finds its way into director Chris Columbus' adaptation of J.K. Rowling's popular children's book, Harry Potter and the Sorcerer's Stone. For those who haven't read the book, the story follows an 11-year-old orphan named Harry Potter (Daniel Radcliffe), who lives with his cruel aunt and uncle. Harry's dreams of escaping his hard-knock life are answered when he is accepted to Hogwarts School of Witchcraft and Wizardry.Despite an entertaining ensemble of supporting roles, the film's young star, Daniel Radcliffe, manages only to succeed in looking like Potter. Harry Potter is just Hollywood's latest manufactured extravaganza, void of emotional honesty and storytelling.-- SR (Rated PG.)

HOW HIGH -- (Grade: D) As 2001 comes to a close, Harvard University gets another student body makeover. After going Legally Blonde, now it's time to see just How High Method Man and Redman from the Wu Tang Clan can take higher education. The story starts off tight as the dope duo get high off some heavenly stuff, ace their entrance exams and answer the freshman call from Harvard's hallowed halls. But somewhere after their introduction to campus life and its stock characters -- the playa hating black dean, the snotty white crew boy-villain, the multicultural, dork roommates -- How High gets lost in its own smoke. -- ttc (Rated R.)

I AM SAM -- (Grade: D) Michelle Pfeiffer's matter-of-fact performance is the best thing about director Jessie Nelson's trite melodrama. In I Am Sam, Pfeiffer plays Rita Harrison, a high-powered attorney who handles Sam Dawson's (Sean Penn) custody battle for his daughter Lucy (Dakota Fanning). Sam is mentally challenged and a team of social workers want Lucy in foster care.Penn is consistent in maintaining the physical quirks of a mentally handicapped individual. It's hard not to be impressed by his stamina. Still, Penn's hard work is wasted by the film's heavy-handed storytelling (Nelson co-wrote the screenplay with Kristine Johnson). I Am Sam is the type of clumsy melodrama that's willing to hit its audience over the head for the sole purpose of generating one tear. As a result, Penn looks foolish instead of believable. By keeping her performance more low key, Pfeiffer gets to save a sliver of her dignity. -- SR (Rated R.)

IN THE BEDROOM -- (Grade: A) In a film that is all about the inability to express emotions, to find the words for anger and grief and love, at least actor-turned-first-time director Todd Field (Eyes Wide Shut) was able to find the perfect face. As the grief-stricken mother, Sissy Spacek embodies every possible emotion in Field's melodrama. Spacek watches as her son (Nick Stahl) carries on with an older, separated mother (Marisa Tomei) with two young boys. Spacek seethes as her husband (Tom Wilkinson) admires the son's youthful indiscretion. Fortunately, an effort like In The Bedroom all but guarantees there will be other Todd Field films. -- ttc (Rated R.)

JIMMY NEUTRON: BOY GENIUS -- (Grade: A) Some of 2001's best movies were kids' films. Spy Kids, Shrek, and Monsters, Inc. struck the box office motherlode. The streak continues with Nickelodeon's animated Boy Genuis. James Isaac Neutron has the big-brained ingenuity of MacGyver and a practical nature for using his inventions to solve the problems of daily life. When he mistakenly brings about the kidnapping of all the parents by hungry, chicken-like aliens, Jimmy leads his pals into space to save the day. I especially enjoyed the campfire scene with frights supplied by a great synopsis of The Blair Witch Project. That scene alone will probably send kids to the video store screaming for copies of the movie. -- TTC (Rated G.)

JOE SOMEBODY -- (Grade: F) It's the holiday season and obviously veteran television director John Pasquin (Home Improvement, Roseanne) went for the stocking stuffer approach with Joe Somebody. The cast is full of TV performers looking for a big screen break.

Tim Allen plays the titular hero who gets abused by the company bully who's TV alter ego is none other than The Tick (Patrick Warburton). Joe Somebody is a Charlie Brown story for adults. Rather than wasting money on movie tickets, stay home and enjoy your remote control. If you flip the right channels enough, you'll see all of these actors in far better situations. -- TTC (Rated PG.)

JUNG (WAR) IN THE LAND OF THE MUJAAHEDDIN -- The Cincinnati International Film Festival group sponsors a special screening of directors Alberto Vendemmiati, Fabrizio Lazzaretti and Giuseppe Petitto's documentary about the Taliban influence on Afghanistan. The filmmakers will present the film. 7 p.m. Friday and Saturday at the University of Cincinnati's Zimmer Auditorium. Call 513-533-8208 for information. -- SR (Unrated.)

KATE & LEOPOLD -- (Grade: B) Hugh Jackman's frothy performance as a 19th century duke transported to 2001 Manhattan is the best thing about co-writer/director James Mangold's likable romantic-fantasy. Clad in period garb, Jackman makes the chivalrous Leopold into the romantic lead of your dreams. The reliably perky Meg Ryan makes a sarcastic target for Jackman's charms. Their on-screen chemistry more than compensates for a script that offers few surprises. By the time Kate & Leopold reaches its sugary climax, it's clear that Mangold has delivered one of the more enjoyable comedies of the year. -- SR (Rated PG-13.)

KUNG POW: ENTER THE FIST -- (Grade: D) Moronic characters, stupid storytelling and truly adolescent gags are the genuinely good qualities of Kung Pow: Enter the Fist. Steve Oedekerk (the writer behind Eddie Murphy's Nutty Professor films and the director of Ace Ventura: When Nature Calls) has decided to bring his unoriginal brand of humor to the kung fu genre. He updates the action in Kung Pow with spoofy takes on The Matrix and Crouching Tiger, Hidden Dragon. But the misadventures of the Chosen One (Oedekerk), Kung Pow's chop-socky hero, belong to 1970's, badly overdubbed, Japanese martial arts films. There's a certain level of imagination at work in Kung Pow, because there are laughs to be had. Oedekerk uses Kung Pow as a means to indulge in his case of arrested development, all while onscreen. As goofy as Kung Pow was, I found myself curious about its next installment, which is previewed as part of the closing credits. Maybe I'm envious. Could it be that we all want to make really bad, silly movies for other people to watch? --- ttc (Rated PG-13.)

THE LORD OF THE RINGS: FELLOWSHIP OF THE RING -- (Grade: A) Director Peter Jackson tackles J.R.R. Tolkien's fantasy books set in Middle-earth with a fresh and creative force. The results are extraordinary.The film tells the story of hobbit Frodo Baggins (Elijah Wood) and the powerful Ruling Ring he inherits from his Uncle Bilbo Baggins (Ian Holm). It's clear that Frodo's task is nothing less than saving the world from evil.There is plenty of showmanship in Fellowship, but there is also substantive storytelling. Fellowship of the Ring is so good that I imagine high-brow audiences who normally avoid these types of films will find themselves having a great time if they give the film a chance. -- SR (Rated PG-13.)

MONSTERS, INC. -- (Grade: B) The best part of director Peter Docter's witty animated adventure is Billy Crystal's screechy voice. Crystal's sarcasm and dead-on comic timing brings Mike, a bulbous, green, one-eyed manager at the monster-run company that turns children's screams into electrical power, to life. Produced by Pixar, the kingpins of three-dimensional animation, Monsters, Inc. trades the humanistic themes of their Toy Story films for something sassier. The monsters' lives are turned upside-down after a small girl named Boo accidentally stumbles into Monstropolis.Crystal's feisty Mike will make every member of the family laugh, and that's an impressive achievement for any family movie. -- SR (Rated G.)

MONTY PYTHON AND THE HOLY GRAIL REDUX -- (Grade: B) New film prints boosted with a digital soundtrack and 24 seconds of additional footage give Monty Python's 1975 collection of medieval sketches the type of splashy re-release worthy of its cult comedy status. It's been awhile since Monty Python has appeared on-screen: 1983's Monty Python's The Meaning of Life. It's been even longer since their BBC comedy show Monty Python's Flying Circus ended its initial run. After years of watching Monty Python and the Holy Grail via worn videotapes and old prints shown at college film series, the idea of seeing a sparkling version of the film is somewhat astounding. Comedy is hard. Good sketch comedy is even harder. Monty Python and the Holy Grail can still send an audience into hysterics. For that reason alone, it deserves its time in the re-release spotlight. -- SR (Unrated.)

THE MOTHMAN PROPHECIES -- (Grade: B) What if, throughout history, there has been a force, some otherworldly presence, that has tried to alert us to impending tragedy? What if we never listened? So asks The Mothman Prophecies, a refreshingly smart spooker directed by Mark Pellington (Arlington Road). Using his unique visual flair and a gripping script based on actual events, Mothman is basically the anti-Scary Movie. It doesn't pander or manufacture cheap thrills. It lays the plot out and lets the audience freak themselves out thinking about it.John Klein (Richard Gere) is haunted by a vision his wife sees before an accident. In his quest to understand the "moth-like" image, he finds himself in Point Pleasant, West Virginia, a sleepy burg whose inhabitants are also haunted. Can he and the local cop (Laura Linney) solve the mystery before it's too late? While it's also Mothman's greatest asset, refusing to explain or answer the tough questions also makes it difficult to digest. But if the choice is between an intelligent thriller that doesn't take sides and 13 Ghosts, I'll take Mothman any day of the week. -- RP (Rated PG-13.)

OCEAN'S ELEVEN -- (Grade: C) In as good a description of the film as any, Steven Soderbergh has said that Ocean's 11 is an old-fashioned heist movie with lots of stars.Filled with household names -- George Clooney, Brad Pitt, Matt Damon and Julia Roberts -- Soderbergh's remake isn't much of an improvement on the 1960 original. The plot is familiar. Just released from prison, unreformed thief Danny Ocean (Clooney) corrals 11 retired criminals for a shot at robbing three Las Vegas casinos, all owned by a Vegas tycoon (Andy Garcia) who's romantically involved with Ocean's ex-wife (Roberts).The first half of Ocean's 11 crisscrosses America as Ocean builds his criminal dream team. The second half shows the heist. By the time Ocean and his 11 hoods leave Vegas, their impossible heist no longer seems important. -- SR (Rated PG-13).

THE ONE -- (Grade: F) It's baffling how director Jim Wong manages to make kung-fu legend Jet Li look boring in the pulpy fiasco, The One. An incoherent comic-book plot doesn't help matters. A pair of Jet Li dopplegangers battle for power over the multi-universe. Yulaw (Li) is the baddie from another world. Gace (also Li) is the LAPD cop just trying to keep himself from being assassinated by the mysterious superman who looks a lot like himself. The likable Li does smile throughout the film. He appears to be having a good time, and it's safe to say that he's the only one. -- SR (Rated PG-13.)

ORANGE COUNTY -- (Grade: D) Orange County has a boatload of rising and established talent. Colin Hanks (son of Everyman Tom) and Schuyler Fisk (daughter of Sissy Spacek) headline a cast including Jack Black, John Lithgow, Catherine O'Hara, Lily Tomlin and a host of surprise cameos. Orange County director Jake Kasden (son of Lawrence) has already shown his offbeat directing style in Zero Effect. The film's screenwriter, Mike White (Chuck and Buck), just wants to further establish himself. Shaun (Hanks) is a smart kid who desperately wants to attend Stanford where he can study to become a writer. His path is blocked by the unstable cast of characters in his life, not the least of which happens to be his perpetually wasted brother (Black). Along the way to solving his issues, Shaun realizes Orange County may inspire him, much how Yoknapatawpha County, Miss., inspired William Faulkner. Orange County is smart enough to allow the gags to develop into sustained comedic details. For me, the movie plays dumb a little too long, but there were genuine moments where I surrendered to the hangdog charm of Hanks. Just think, goofy television and film larks like this were how his dad paid his dues. I suppose the point for both Shaun and Hanks is that Orange County might not be such a bad place to start. -- ttc (Rated PG-13.)

OUT COLD -- (Grade: C) Directed by brothers Brendan and Emmett Malloy, Out Cold has a retro style that harkens back to 1980s teen-sex comedies like Porky's and Revenge of the Nerds. The difference is that Out Cold lacks the rated-R nudity that gave those films their illicit edge. The genre staple of Out Cold's story is firmly in place. A slick ski mogul (Lee Majors) wants to turn an Alaskan ski town into an upscale resort. Rick (Jason London), a young, snow-king-of-the-hill, tries to stop the takeover. Along the way, Rick must choose between two women. After the mean-spirited Tomcats and the bland Summer Catch, it would have been refreshing to revisit the goofy joys of being young and dumb. -- ttc (Rated PG-13.)

RIDING IN CARS WITH BOYS -- (Grade: C) Both attuned to the humor and warmth in personal stories, Drew Barrymore and director Penny Marshall should be the perfect match. But Riding in Cars with Boys lacks the uplifting spirit of these two women. Barrymore plays Donofrio in a drama that looks at teen pregnancy, personal sacrifices and the bad decisions that pushed the 15-year-old girl to the verge of adulthood. Bringing the film down a notch are the scenes between Donofrio and her drug-addict husband (Steve Zahn). This is by no means a bad film. It hopefully marks a transition for Barrymore. Next time, maybe she won't just settle for playing grown-up. -- ttc (Rated PG-13.)

THE ROYAL TENEBAUMS -- (Grade: A) Everything comes together perfectly in filmmaker Wes Anderson's playful comedy, The Royal Tenenbaums. The film's story, co-written by Anderson and Owen Wilson, is a smart and sarcastic tale about a family of Upper East Side geniuses reunited after 20 years of betrayals. Gwyneth Paltrow is wonderfully pouty as Margot Tenenbaum, a somber playwright who hasn't written anything in seven years. Gene Hackman, clad in clunky sunglasses and out-of-date suits, gives one of the best performances of his career as cranky Royal Tenenbaum, the family patriarch who walked out years ago. Tenenbaums is a comic celebration of dysfunctional behavior. They're eccentrics struggling through daily life, and nothing is richer than that. -- SR (Rated R.)

SHALLOW HAL -- (Grade: D) The guys who brought you sperm-gelled hair in Something About Mary and frozen snot in Dumb and Dumber turn their attentions to the issue of inner beauty. The result isn't pretty. Peter and Bobby Farrelly had a great concept for a comedy: a shallow guy is hypnotized into only seeing a woman based on her inner beauty. Enter Rosemary (Gwyneth Paltrow), in reality a 300-pound "nice girl" who volunteers for children's hospitals and served in the Peace Corps. Of course to Hal she looks like a movie star. The hijinks ensue. Or should ensue. The fact is, the guys who thought to show Ben Stiller's privates trapped in a zipper actually go too far the wrong way. Dare I say, they try to be touching? Afraid so. -- RP (Rated R.)

THE SHIPPING NEWS -- (Grade: D) Director Lasse Hallström's star vehicle adaptation of Annie Proulx's Pulitzer Prize-winning 1993 novel turns out to be the worst of Hollywood's big holiday films. Considering all the talent involved in The Shipping News, it's safe to say that the film is a bundle of missed opportunities. Kevin Spacey is sleepy as Quoyle, a single father who looks to revive his life as a journalist in a Newfoundland town. Julianne Moore offers little chemistry as Wavey, the single mom who befriends Quoyle. Only Judi Dench and Cate Blanchett provide dramatic sparks with their supporting roles. Still, whenever Dench and Blanchett are off camera, which is frequently, The Shipping News dissolves into lulling, sloppy melodrama. -- SR (Rated R.)

SNOW DOGS -- (Grade: D) The closing credits of Snow Dogs reveal that the story was suggested by the book Winterdance by Gary Paulsen. The creative folks at Disney would probably like for us to imagine the book sprouting lips and a cute kid-friendly attitude as it went about a bit of self-promotion to get the greenlight. Snow Dogs is part of the continuing trend in filmmaking that presents animals manipulated into exhibiting more human characteristics. I would personally like to thank the producers for limiting the talking dog effects to just the one scene used in the trailers.The human talent in Snow Dogs has a rich, but rather questionable, pedigree. Two recent supporting actor Oscar winners, Cuba Gooding, Jr. (Jerry Maguire) and James Coburn (Affliction), lead the mushpit for director Brian Levant (Beethoven). I'm sure the kids might get something out of the good messages, but Snow Dogs offers far less than the recent animated features like Jimmy Neutron: Boy Genius and Monsters, Inc. I might have been far more inclined to go along with the "hokey black guy from Florida inherits a dog sled team in Alaska" story if the producers had gone the animated route. It might have been more daring, instead of coming off like a second-rate Dr. Doolittle spliced with Cool Runnings. Although, that's just my suggestion. -- ttc (Rated PG.)

SPY GAMES -- (Grade: D) Robert Redford's steely performance as a veteran CIA operative is the best thing about director Tony Scott's glossy, espionage thriller. Spy Game reunites Redford with Brad Pitt, who plays a CIA agent trapped in a Chinese prison. Redford is the mentor who tries to get him out. Their friendship is revealed through flashbacks running back to the Vietnam War. Scenes of Mideast violence and Chinese torture try to give Spy Games a ripped-from-the-headlines feeling. Still, it's not long before the film tosses aside any attempts at character-driven storytelling for the sake of flashy photography. -- SR (Rated R.)

13 GHOSTS -- (Grade: D) When the original 13 Ghosts appeared in theaters in 1960, audiences were issued "ghost viewer" glasses that revealed the spirits on the screen. And that's what's lacking in this year's take on the story. It's a thriller that doesn't thrill. Arthur (Tony Shalhoub) inherits a house from a strange uncle (F. Murray Abraham), only to find that it is no house at all, but a machine made to unleash the powers of hell. To operate it, 12 ghosts' souls are sacrificed. Who will be the 13th? Hipsters Matthew Lillard and Shannon Elizabeth are on board, but their minimal star wattage can't salvage the film. There are enough cheap tricks to entertain some, unless you ask a little more of your scary movie. -- RP (Rated R.)

VANILLA SKY -- (Grade: B) A complex and mature performance by the usually lackadaisical Tom Cruise is the highlight of director Cameron Crowe's erotic remake of Spanish director Alejandro Amenábar's 1997 thriller Abre Los Ojos. Cruise plays David Aames, a wealthy heir to a Manhattan publishing company, who lives the fast car/pretty girlfriend life. Cameron Diaz is Julie Gianni, a flirty actress and Aames' girlfriend of the moment. Co-star Penélope Cruz makes a believable "dream" girl, reinventing the role she played in Amenábar's original film. Crowe brings dramatic tweaks, surrealist flourishes and additional polish to Amenábar's film about a man who loses his chance at true happiness. It's immediately clear that Vanilla Sky is a "star" vehicle for Cruise. -- SR (Rated R.)

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