Julia Roberts's command of the screen is so effortless, it's easy for moviegoers to take her for granted—but we shouldn't. Mona Lisa Smile—about a noncomformist teacher at a private school who encourages students to pursue their individuality—is pretty much an all-girls version of Dead Poets Societythat mixes '50s fashions with '70s feminist thought. However, its lack of ambition doesn't diminish the talent that's gone into it: The writing and directing are well-honed and skillful; the actors—a talent-studded cast featuring Marcia Gay Harden, Kirsten Dunst, Maggie Gyllenhaal, Julia Stiles, and Juliet Stevenson—are uniformly excellent. But without question, Mona Lisa Smilerides on Roberts's shoulders and she carries it with ease. She's possibly the only contemporary actor who simply owns a movie the way Bette Davis, Jean Arthur, or Claudette Colbert once did, radiating a engaging mix of intelligence, drive, and emotional warmth that cannot be matched. —Bret Fetzer

Considering how lame this sequel could have been, The Santa Clause 2 makes for a pleasant holiday diversion. It's got the familiar smell of Disney marketeering, and more than a few parents will object to this further embellishment of the St. Nick legend, but Tim Allen's amiable presence provides ample compensation. As a divorced dad who inherited the jolly man's job in The Santa Clause, Allen now faces another Yuletide challenge. According to the "Missus Clause" in his North Pole contract, he can't continue to be the real Santa until he gets married. As luck and five credited screenwriters would have it, Allen falls for the Scrooge-y principal (Elizabeth Mitchell) of his son's school, while a phony, power-hungry duplicate Santa wreaks havoc on the North Pole's overworked elves. It's all as sweet as spiced eggnog, with that warmed-over feel of a mandated sequel, but the Christmas spirit does prevail with the sound of sleigh bells and Allen's rosy-cheeked ho, ho, ho! —Jeff Shannon

Jackie Chan finally conquered America with Rumble in the Bronx. If the mildly contorted English dialogue sounds peculiarly foreign and disembodied (most of it is dubbed), and the mountains of Vancouver, BC don't convincingly double for the skyline of New York City, well, peculiarities like these actually contribute something to the movie's ingenuous charm. With his disarming smile and feline physicality, the compact Chan radiates star quality. But there's more to him than charisma: at his best, the actor combines the relentlessly escalating, hyperkinetic action set-pieces for which Hong Kong is famous; the rigorous martial arts training of his idol, Bruce Lee; and the grace and daring that distinguish Buster Keaton's physical comedy. Chan also shares some of Keaton's cinematic integrity, which dictated that you shouldn't cheat the audience by faking stunts, on the set or in the editing room. Like Keaton, Chan does his own stunts, and you can see that it really is him jumping off a bridge onto a speeding boat, or clinging to the dangling ladder of a helicopter as the hostile pilot tries to shake him loose by smashing him into the sides of skyscrapers. Not that it matters, really, but the plot of Rumble in the Bronxhas something to do with Chan helping the woman who has taken over his uncle's neighborhood market when she is harassed by local hoodlums. What really matters is Chan, and he's in fine form. Rumble in the Bronxdoesn't rank with his best work, but it's a swell introduction to a unique star. And those stunt outtakes over the end credits are as delightfully spellbinding as ever. "See?" Chan seems to say every time he breaks a rib or twists an ankle (which happens often). "I'm doing this all for you."—Jim Emerson

This epic, animated 1997 fantasy has already made history as the top-grossing domestic feature ever released in Japan, where its combination of mythic themes, mystical forces, and ravishing visuals tapped deeply into cultural identity and contemporary, ecological anxieties. For international animation and animefans, Princess Mononokerepresents an auspicious next step for its revered creator, Hayao Miyazaki (My Neighbor Totoro, Kiki's Delivery Service), an acknowledged animepioneer, whose painterly style, vivid character design, and stylized approach to storytelling take ambitious, evolutionary steps here.

Set in medieval Japan, Miyazaki's original story envisions a struggle between nature and man. The march of technology, embodied in the dark iron forges of the ambitious Tatara clan, threatens the natural forces explicit in the benevolent Great God of the Forest and the wide-eyed, spectral spirits he protects. When Ashitaka, a young warrior from a remote, and endangered, village clan, kills a ravenous, boar-like monster, he discovers the beast is in fact an infectious "demon god," transformed by human anger. Ashitaka's quest to solve the beast's fatal curse brings him into the midst of human political intrigues as well as the more crucial battle between man and nature.

Miyazaki's convoluted fable is clearly not the stuff of kiddie matinees, nor is the often graphic violence depicted during the battles that ensue. If some younger viewers (or less attentive older ones) will wish for a diagram to sort out the players, Miyazaki's atmospheric world and its lush visual design are reasons enough to watch. For the English-language version, Miramax assembled an impressive vocal cast including Gillian Anderson, Billy Crudup (as Ashitaka), Claire Danes (as San), Minnie Driver (as Lady Eboshi), Billy Bob Thornton, and Jada Pinkett Smith. They bring added nuance to a very different kind of magic kingdom. Recommended for ages 12 and older. —Sam Sutherland

How can you hate a movie that features ninja Siamese cats wreaking havoc with their kung fu prowess? That's one of the highlights in Cats & Dogs, an effects-laden family film that mystifies cat fanciers by casting dogs as the undisputed heroes in all-out warfare with nefarious felines. Hidden headquarters and high-tech gadgets are featured on both sides of this age-old battle. On the feline side, the longhaired Persian Mr. Tinkles (voice of Sean Hayes) plots to sabotage the efforts of Professor Brody (Jeff Goldblum) to discover a cure for human allergies to dogs. On the canine side, stalwart shepherd Butch (voice of Alec Baldwin) trains the mistakenly recruited beagle puppy Lou (voice of Tobey Maguire) to foil Mr. Tinkles's scheme—a mission that begins when Mrs. Brody (Elizabeth Perkins) adopts Lou for her son Scott (Alexander Pollock).

Using combinations of live animals, animatronic puppets, and digital wizardry, Cats & Dogshas just enough imagination to match its effects, climaxing with a feline global-domination scheme involving mice sprayed with chemicals that will make all humans allergic to dogs. Goldblum and Perkins gamely play second fiddles to this menagerie of mayhem, and as madcap "realism" gives way to cartoonish fantasy, the movie escalates into utter chaos, burdened by lame jokes but highlighted by a furry supporting cast including a Saluki hound (voice of Susan Sarandon), a shaggy sheepdog (voice of Michael Clarke Duncan), and a Chinese hairless techno-geek named Peek (voice of Joe Pantoliano). Though never as charming as the Babemovies, Cats & Dogsis harmless fun—especially for dog lovers. —Jeff Shannon

Take away the Fairy Godmother, and what have you got left from the Cinderella fable? The story of a girl for whom a bad stroke of luck is no match for her internal strength and purity of heart. Drew Barrymore plays Cinderella's alleged inspiration, Danielle, in this romantic drama that purports to tell the "facts" behind the Grimm brothers' story. One of three daughters of a man (Jeroen Krabbé) who dies and leaves her fate in the hands of a conniving stepmother (Anjelica Huston), Danielle is cast into the lowly role of a servant. Meanwhile, her sisters are evaluated as possible mates for a French prince (Dougray Scott), but he's far more intrigued with Danielle's intelligence and beauty—not to mention her way with a sword and fist. Directed by Andy Tennant (who directed Barrymore in TV's The Amy Fisher Story), Ever Afterhas that rare ability to win the heart and mind of a viewer simply by being committed to its own innocence, particularly where Barrymore's luminous performance is concerned. A contemporary take on an old, virtually forgotten Hollywood convention—the costume adventure with middling artistic ambition but real audience appeal—Ever Afteris a surprisingly delightful film. —Tom Keogh

Holy camp site, Batman! After a fabulously successful season on TV, the campy comic book adventure hit the big screen, complete with painful puns, outrageous supervillains, and fights punctuated with word balloons sporting such onomatopoeic syllables as "Pow!,""Thud!," and "Blammo!" Adam West's wooden Batman is the cowled vigilante alter ego of straight-arrow millionaire Bruce Wayne and Bruce Ward's Robin (a.k.a. Dick Grayson, Bruce's young collegiate protégé) his overeager sidekick in hot pants. Together they battle an unholy alliance of Gotham City's greatest criminals: the Joker (Cesar Romero, whooping up a storm), the Riddler (giggling Frank Gorshin), the Penguin (cackling Burgess Meredith), and the purr-fectly sexy Catwoman (Lee Meriwether slinking in a skin-tight black bodysuit). The criminals are, naturally, out to conquer the world, but with a little help from their unending supply of utility belt devices (bat shark repellent, anyone?), our dynamic duo thwarts their nefarious plans at every turn. Since the TV show ran under 30 minutes an episode (with commercials), the 105-minute film runs a little thin—a little camp goes a long way—but fans of the small-screen show will enjoy the spoofing tone throughout. Leslie H. Martinson directs Lorenzo Semple's screenplay like a big-budget TV episode minus the cliffhanger endings. —Sean Axmaker

Recovering from the box-office disappointment of The Cable Guy, Jim Carrey gave his fans what they wanted in this good-natured and frequently hilarious 1997 comedy. In a vehicle tailor-made for his verbal and physical antics, Carrey plays a lawyer whose penchant for prevarication is tested when his son makes a birthday wish that his father would tell the truth, the whole truth, and nothing but the truth for 24 hours, so help him God! Without his daily defense of white lies, selfish fibs, and outright deception, the helpless lawyer finds himself blurting uncensored truths with total, and totally outrageous, candor. The script is clever enough to milk the premise for all it's worth, but it's Carrey's energy—particularly in a hilarious bathroom scene where he literally mugs himself to delay a trial—that keeps the movie going to its sappy happy ending. The supporting cast includes Jennifer Tilly, Cary Elwes, and Amanda Donohoe. —Jeff Shannon

A romantic comedy set against the background of the Seattle grunge scene of the late '80s and early '90s, Singlescontains music and/or cameo appearances by the music groups who defined the movement, including Pearl Jam, Soundgarden, Alice in Chains, Mudhoney, Screaming Trees, Mother Love Bone, and others. (For a definitive documentary treatment of the same pop-music phenomenon, see Hype!) The plot is really a series of interconnected stories about various Seattle singles—some of who are part of a couple, at least temporarily. Matt Dillon plays a longhaired rocker whose girlfriend (Bridget Fonda) is considering breast enlargement surgery. As Steve and Linda, Campbell Scott and Kyra Sedgwick are going through the awkward stages of a relationship—that point when quirky little traits that may have seemed attractive initially can evolve into major annoyances. It's a funny, sweet, enjoyable picture that captures some of the flavor of the Northwest, where writer-director Cameron Crowe relocated after marrying Seattle native Nancy Wilson of Heart. (The Wilson sisters also appear on the soundtrack as members of The Lovemongers.) Ten years before the release of Singlesin 1992, Crowe was the "boy wonder" reporter for Rolling Stonemagazine who went back to high school in order to research and write what became Fast Times at Ridgemont High. His other work includes Jerry Maguire(1996) and Say Anything(1989). —Jim Emerson

Like the previous three Inu-Yashafeatures, Fire on the Mystic Island(2004) pits the cast of Rumiko Takahashi's "feudal fairy tale" against new foes, unrelated to the tale of the Shikon Jewel. This time, it's the Four War Gods, powerful demons on the island of Houraijima, who preserve and augment their power by sacrificing half-demon children. Director Toshiya Shinohara uses lots of CG effects in the endless fights: explosions, lightning bolts, fire bombs, poisonous insects. But the visual glitz can't disguise that Fire on Mystic Islandis the weakest of the features. The War Gods are standard-issue villains whose demise is a forgone conclusion. Inu-Yasha's half-brother Sesshomaru walks into the film, slays one of the War Gods, and walks out. Introducing a replica of Kikyo feels like a desperate attempt to introduce some emotion into a faltering plot. Kagome and Inu-Yasha once again combine forces to defeat the most powerful demon, but the film lacks the strong character relationships that give the series much of its charm. Inu-Yashafans may want Fire on the Mystic Islandto complete their collections, but they'll look in vain for the visual beauty of Affections Touching Across Time, the warmth of Castle Beyond the Looking Glass, and the passion of Swords of an Honorable Ruler. (Unrated, suitable for ages 13 and older: violence, grotesque imagery, brief nudity) —Charles Solomon

This '90s update of the Spencer Tracy-Elizabeth Taylor hit is a mix of the pleasant and the silly, a nice enough movie but a little too controlled to become particularly interesting. Steve Martin plays the aging patriarch who is threatened by his daughter's engagement and not-quite-willing to let her go. The writing-directing team of Charles Shyer and Nancy Meyers provides Martin's character with a perhaps too-broad range of comic responsiveness to the situation, some of it gentle (a ritual game of basketball between dad and his little girl) and some of it slapstick (Martin sneaking around his prospective in-laws' house and encountering a guard dog). Martin Short turns up as a wedding coordinator—which has deliriously delicious possibilities—but his inventiveness doesn't quite strike the chord this time. —Tom Keogh

William Steig's delightfully fractured fairy tale is the right stuff for this computer-animated adaptation full of verve and wit. Our title character (voiced by Mike Myers) is an agreeable enough ogre who wants to live his days in peace. When the diminutive Lord Farquaad (John Lithgow) evicts local fairy-tale creatures (including the now-famous Seven Dwarfs, Pinocchio, and the Gingerbread Man), they settle in the ogre's swamp and Shrek wants answers from Farquaad. A quest of sorts starts for Shrek and his new pal, a talking donkey (Eddie Murphy), where battles have to be won and a princess (Cameron Diaz) must be rescued from a dragon lair in a thrilling action sequence. The story is stronger than most animated fare, but it's the humor that makes Shreka winner. The PG rating is stretched when Murphy and Myers hit their strides. The mild potty humor is fun enough for 10-year-olds but will never embarrass their parents. Shrekis never as warm and inspired as the Toy Storyfilms, but the realistic computer animation and a rollicking soundtrack keep the entertainment in fine form. Produced by DreamWorks, the film also takes several delicious stabs at its crosstown rival, Disney. —Doug Thomas

Everyone thought the war was over but the darkest battle has only just begun. Spectacular mecha action explodes onscreen in this long-awaited and eagerly-anticipated sequel to the blockbuster anime series that spawned a generation of fans! The legendary Admiral Hunter is missing as a deadly new adversary threatens the vulnerable survivors of the Robotech wars. Vince Grant and Scott Bernard must race against time to unravel a treacherous mystery that could spell the end of the human race! Features the voice talents of Mark Hamill (Star Wars) and Chase Masterson (Star Trek: Deep Space Nine) Extra features include "Birth of a Sequel" featurette with director Tommy Yune composer Scott Glasgow and more. Winner Best Animated Sci-Fi Feature - 2006 International Horror & Sci-Fi Film FestivalSystem Requirements:Running Time: 88 Mins. Format: ROBOTECH Genre: ANIMATION/ADULT SWIM Rating: NR UPC: 704400070952 Manufacturer No: 1-4210-0633-2

After viewing Snow White and the Seven Dwarfs, Edgar Rice Burroughs wrote to Walt Disney about adapting his novel of an ape-man into a feature animated cartoon. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film. The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney's Tarzandoesn't wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music (the songs are sung by Phil Collins himself rather than onscreen characters) and the remarkable animation. Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O'Donnell, should keep the little ones aptly entertained. The two lead voices, Tony Goldwyn as Tarzan and Minnie Driver as Jane, are inspired choices. Their chemistry helps the story through the weakest points (the last third) and makes Tarzan's initial connection with all things human (including Jane) delicious entertainment. Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, Tarzanmakes a pretty good treat. (Ages 5 and up) —Doug Thomas