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Shamelessly sentimental, The Notebook is as predictable as a dimestore romance novel—it is based on the bestseller by Nicholas Sparks—but director Nick Cassavetes pulls it off.

Two Brothers is more like a National Geographic special about Cambodia, where it takes place, than it is about a pair of tigers. As the tigers, from cubs to adults, are framed by the humans who train, tame and abuse them, Jean-Jacques Annaud's latest picture loses its bite.

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"Keenen Ivory Wayans is one of the greatest comedy directors of all time," raves producer Rick Alvarez in the White Chicks press booklet. Whoever heard of slouches like Billy Wilder? "It was an easy concept to sell." Sure it was. Some Like It Hot, 1959—that gave them forty-five years to think it over.

Employing his wry humor and irreverence to promote his left wing agenda, director Michael Moore crusades against President Bush and the War in his latest documentary, Fahrenheit 9/11. Like The Passion of the Christ; the movie sparked controversy in the media before it ever hit theaters. From finding a distributor after Disney dropped it to contesting (and finally accepting) the MPAA's R rating to claims of censorship, this is more than just the release of a movie—it's a campaign.

Disney and Walden Media hold to writer Jules Verne's original plot in Hollywood's latest remake, Around the World in 80 Days, yet Jackie Chan, whose secondary role subsumes the picture, keeps this light fare from taking flight.

Inhabiting the weird parallel comic universe usually reserved for Saturday Night Live vehicles, Dodgeball: A True Underdog Story is a mixed bag of outrageous humor, sweet moments and offensive clunkers. All this is set in a world that plays by its own skewed comic rules which exist for the benefit of the story, not logic.

Watching Tom Hanks in The Terminal, directed by Steven Spielberg, is like seeing him in Cast Away; stranded, alone and, when he finally makes a connection, there isn't much point. At least Mr. Hanks' character in Cast Away is rescued—which is not necessarily so in Mr. Spielberg's latest picture.

We've launched a new default view for our individual movie pages that displays related data from many sections of the site. Here is a sample:

Similar to our Most Popular Movies page, you can now see who the most popularly viewed people are on Box Office Mojo. Each day we measure the number of pages a given person's chart is viewed and show the ranking on this page. You have the option to view the following time periods: Yesterday, Last 7 Days, This Week, Last Week and This Month (Last Month

All actor, director, writer, producer and composer charts are now running off of our database and are housed in an all-encompassing "People" section. This has allowed us to add many more people to our database and we welcome your suggestions if your favorite actor, director, etc… is not currently listed.

We've finished beta testing our inflation adjuster tool and have a created a page that describes how the process works. Click on the link below for complete information:

The Chronicles of Riddick is a second-rate sci-fi epic that is derailed by an unfocused story, uninteresting characters and cheesy production design.

From the pen of illustrator Jim Davis to the vision of producer John Davis comes Garfield: The Movie—and it takes the lasagna. Faithful enough to the spirit and wit of the comic strip, the television cartoon, the endless permutations of merchandizing as to not offend the fans, notwithstanding, this movie stands on its own four legs—and purrs.

HOLLYWOOD (Box Office Mojo)—As school breaks for the summer, children of all ages are enrolling at Hogwarts School of Witchcraft and Wizardry in droves. Chris Columbus

The third installment in the motion picture series based on J.K. Rowling's children's literary phenomenon, Harry Potter and the Prisoner of Azkaban, succeeds in every sense. As a plot-based child's adventure, it is true to Rowling's novel and the adaptation is filled with a top-notch cast, with the three young leads growing up—and into their roles.

HOLLYWOOD (Box Office Mojo)—Audiences around the world stormed theaters showing The Day After Tomorrow over the weekend. Roland Emmerich

Top-notch performances by Joan Cusack, Helen Mirren and Jurassic Park's Joseph Mazzello in a small part do not elevate Raising Helen above its conventional plot. The first real showcase for Kate Hudson is a folks-next-door tale that won't do much for her career. Miss Hudson is too plain in a fragmented role as a party girl re-railed on the mommy track.

Prepare for more religious propaganda: The Day After Tomorrow is the New Left's doomsday evangelism with ecology as its religion. Junk science is sacred to director Roland Emmerich (Independence Day, Godzilla) and most of his cast; the press notes read like Earth First! talking points. The Day After Tomorrow does not pretend to be anything else and, whatever one's view of how and whether global warming poses a danger to man, this disaster movie is undeniably bad.

If you find the Sept. 11 attack on America a barrel of laughs, you'll find Soul Plane hysterical. When director Jessy Terrero and the writers—too busy trying to establish street credentials to write decent jokes—present rapper Snoop Dogg's ex-con airline captain posing for a flight school photograph next to a few Jihadists, you half expect a box-cutter gag.