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THE RING (PG-13) Mulholland Drive's Naomi Watts plays a Seattle reporter investigating an urban legend about a videotape that kills its viewers -- which may be no myth. This American remake of the superb Japanese thriller Ring can be both more self-consciously arty and more expensively gory than the restrained original. Director Gore Verbinski nevertheless finds some honest, atypical scares, generating paranoia of communications technology with the spookiest staticky TV set since Poltergeist.--CH
RODGER DODGER (R) A bitter, self-styled ladies' man (Campbell Scott) gives his teenage nephew (Jesse Eisenberg) lessons in attracting women in Dylan Kidd's debut film, which combines a horny pub crawl with a grim character study. Scott finds unexpected depths in his fascinatingly repellent role as an articulate sexist, and cinematic sex objects Jennifer Beals and Elizabeth Berkley provide credible supporting performances.-- CH
THE SANTA CLAUSE 2 (G) In the modestly entertaining original, Tim Allen played a hapless Joe who became a better dad by taking the role of St. Nick. The sequel, at one point known as The Mrs. Clause, finds Allen's portly Kris Kringle tasked to find a wife in modern-day America.
SPIRITED AWAY (PG) When her parents are turned into pigs, a Japanese girl enters the realm of spirits and deities to save them and herself. An Alice in Wonderland for the 21st century, this animated treasure finds director Hayao Miyazaki (Princess Mononoke) at the height of his powers, offering mature characterizations, sharp conflicts without violence and one of the strangest, least predictable coming-of-age stories you've ever set eyes on.--CH
STAR WARS: ATTACK OF THE CLONES (PG-13) The second installment of George Lucas' Star Wars prequel trilogy get the IMAX treatment. Though the star-crossed love story of Senator Amidala (Natalie Portman) and Jedi apprentice Anakin Skywalker (Hayden Christensen) falls flat, a mystery subplot connecting bounty hunters and clone armies plays like a delicious wedding of Star Wars and James Bond, building to a final half-hour so spectacular you'll be reluctant to blink for fear of missing something. Regal Cinemas Mall Of Georgia IMAX, 3379 Buford Drive, Buford.--CH
SWEET HOME ALABAMA (PG-13) You get a more accurate depiction of the South in that movie about the Country Bears than this lazy, laugh-deficient romantic comedy. Reese Witherspoon plays a hotshot designer engaged to the son of New York's mayor, who she must get a divorce from the laid-back husband (Josh Lucas) she abandoned in her sleepy Alabama home town. Witherspoon's controlled performance gives a few grace notes to a predictable parade of both Southern and wedding movie cliches.--CH
THE TRANSPORTER (PG-13) Snatch's Jason Statham plays a buff, hard-boiled courier who rebels against his evil bosses upon learning that his latest "package" is a kidnapped young woman (Shu Qi). Directed by Hong Kong fight choreographer Cory Yuen.
THE TRUTH ABOUT CHARLIE (PG-13) Daft remake of deft 1963 comedy-caper Charade puts Thandie Newton in Audrey Hepburn's place as a woman pursued all over Paris by bad guys convinced that her murdered hubby gave her their missing loot. Mark Wahlberg sleepwalks through it as a suitor who might know more than he admits about the money and the murder.--Eddy Von Mueller
TUCK EVERLASTING (PG) Disney's self-conscious throwback to its live-action family films like Swiss Family Robinson has everything going for it: Oscar winning actors (Sissy Spacek, Ben Kingsley, William Hurt), a weighty message and a pedigree from children's literature. Alas, this tale of a sheltered girl (Alexis Bledel) and a peculiar family of immortals only lacks a sense of fun and a rationale for keeping your attention. Good intentions, though.--CH
THE TUXEDO (PG-13) The best special effect in a Jackie Chan movie is always Chan himself, which makes the affable performer's latest American vehicle an especially ill-fitting and ill-conceived affair. Chan plays a bumbling, insecure chauffeur who dons a top-of-the-line government issue suit that turns him into a superspy of sorts. Dressed to thrill, he teams up with a rookie agent (Jennifer Love Hewitt, enjoyably awful) to stop a power-mad bottled-water magnate (dull Ritchie Coster). It's always a rush to witness Chan kick and chop his way across the screen, but the film forces him to play second fiddle to the dull effects that allow the suit to come to life. -- MB
WHITE OLEANDER (PG-13) If the screen version of Janet Fitch's bestselling novel were an Olympic event, it'd be hard to tell which of the movie's four actresses would win the gold. This powerfully-performed drama stars Michelle Pfeiffer as an artist whose cold-blooded murder of her philandering boyfriend lands her in prison and places her 15-year-old daughter (Alison Lohman) in a troubled foster care system. Lohman handles the picture's largest role with the discipline it requires, while Renee Zellweger and Robin Wright-Penn score as foster moms of different temperaments. -- MB
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