She's the One is actor-writer-director Edward Burns' second film, following the widely acclaimed The Brothers McMullen. Given a slightly larger budget to play with ($3m as against his debut project's $25,000), Burns revisits much the same territory-love and sibling rivalry within a New York Irish-American family-but rather more expansively. This time, too, he can run to a few stars-in-the-making (Cameron Diaz, Jennifer Aniston, and John Mahoney from Frasier) to jazz up his cast of relative unknowns. Burns himself plays Mickey, a cab-driver in the Big Apple, with Mike McGlone as his yuppie stockbroker brother, and Maxine Bahns as Hope, the girl Mickey falls for and impulsively marries, much to the romantic delight of Francis' neglected wife Renee (Aniston). Francis, meanwhile, is having a clandestine affair with Heather (Diaz), Mike's former girlfriend-something Mike has yet to learn. Dispensing flawed wisdom and generally muddying the waters yet further is the lads' blunt-spoken father (Mahoney). Plotwise that's about it. Burns relies on his appealing cast and some amiably barbed repartee to hold our interest in what's essentially a dialogue-driven movie. He makes shrewd and sometimes unexpected use of his New York locations, too-it's a fair bet most people's mental image of Brooklyn wouldn't include a waterfront fishing community. This is a good-natured, slightly old-fashioned movie whose benevolent view of the battle of the sexes (where the women are invariably smarter than the men) never digs too deep or hits too hard. [+]

Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel High Fidelity emerges unscathed from its Americanisation, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (co-written by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups- which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong. Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack's Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in Say Anything (who was told "Don't be a guy-be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost non-stop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer/songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. [+]

The Lizzie McGuire Movie spins around the axis of Disney Channel starlet Hilary Duff, whose glossy good looks and rather mature figure are balanced by a sweetly bashful persona and an endearing klutziness. On a school trip to Rome, Lizzie is discovered to be the virtual twin of an Italian pop star named Isabella-and her dreamy former partner wants Lizzie to take Isabella's place at an award show to avoid a lawsuit. Only Lizzie's loyal best friend Gordo (Adam Lamberg) suspects that Paolo may not be all that he seems. The Lizzie McGuire Movie is competent fluff, with the most fun to be had coming from Lizzie's pesky little brother (Jake Thomas) and his Machiavellian friend Melina (Carly Schroeder), who plot to humiliate Lizzie for fun and personal gain. It also features Alex Borstein as Lizzie's tyrannical principal and chaperone. -Bret Fetzer.

If Robert Zemeckis's mega-hit Forrest Gump was too sweet for your taste, you may enjoy the undiluted bitterness of his previous movie, a cynical black comedy that was ahead of its time. Death Becomes Her, an outlandish parable about America's obsession with youth and vanity, exposes the corrosive side of Zemeckis's comic sensibility, the sort of scathing satirical edge he gleefully flourished in his overlooked 1980 Used Cars, which has developed a cult following. Meryl Streep has a ball as the deliciously vicious Madeline Ashton, a flamboyantly mannered actress who makes Bette Davis's formidable Margo Channing in All About Eve look like a wallflower. Goldie Hawn is also in razor-sharp comedic form as Madeline's long-time "best friend," Helen. Sensing a bargain she just can't resist, Madeline steals Helen's meek, plastic-surgeon husband Ernest (Bruce Willis) for her own convenience, and the two women become sworn enemies. But the real complications arise when the two are introduced to a secret anti-aging formula by a mysterious and exotic woman (Isabella Rossellini, delightfully ridiculous) that not only smoothes away wrinkles but actually guarantees immortality. As their undying bodies are twisted and mutilated by violent attacks on each other, both women grow increasingly dependent on Ernest for cosmetic repair. The pioneering digital effects inflicted on Streep and Hawn are as grotesque as they are imaginative and hilarious. Like James Cameron (The Abyss, Titanic), Zemeckis loves a technical challenge, and the new visual tools developed for this movie made his later work (in Forrest Gump and Contact) possible. The digital video disc includes a short feature on the movie's production. [+]

No-one can deny that the British love their dogs, but Best in Show proves that the Americans are just as canine crazy. Christopher Guest's (This is Spinal Tap, Waiting for Guffman) latest mockumentary looks at the lives and dodgy doggie loves of the contestants in the USA's most prestigious dog show, The Mayflower. The comedy is observational and mostly improvised, but there are also some genuinely hilarious set pieces and running gags as well as some perfectly timed one-liners, all of which repay repeated viewing. Owners really do become like their dogs as Guest presents a parade of brilliantly observed caricatures, revealing their human weaknesses and quirks and defying you not to find something immensely likeable about each one. Guest slowly introduces us to the principal players in a series of formal interviews and fly-on-the-wall profiles. Meet life partners Scott Donlan and Stefan Vanderhoof with their kimonos and matching Shih Tzus; a trophy wife who shares a love of soup and snow peas with her aged, billionaire husband; the suburban couple, Gerry and Cookie Fleck (brilliantly underplayed by co-writer Eugene Levy and Catherine O'Hara); incredibly highly strung lawyers the Swans and their dysfunctional Weimaraner; and Guest himself as the drawling Southern fishing shop owner and bloodhound breeder Harlan Pepper. This is Guest at his irreverent best. On the DVD: The pin-sharp widescreen 1. 85:1 anamorphic picture means the viewer can really appreciate the film's cinematic nuances, and the Dolby Digital 5. 1 soundtrack means that you don't miss any of the dialogue subtleties either. [+]

Given the presence of both Steve Martin and John Candy, one would expect this John Hughes comedy to be much, much funnier than it is. Certainly it's not for lack of effort on the part of its stars. Martin is an uptight businessman trying to get home from New York for the holidays. But one thing after another gets in his way-most of it having to do with Candy, a boorish but well-meaning boob who takes a liking to him. Together they travel all over the map; no matter how hard Martin tries to shake him, he can't. But Hughes's writing is never as sharp as it should be and this film winds up being only intermittently humorous. -Marshall Fine.