“Ali”

As an epic depiction of life in America during the ’60s, with a concentration of the new expression and celebration of African American identity epitomized by Muhammad Ali (a notable Will Smith), “Ali” razzles and dazzles.

But as a bio-flick about the legendary boxer, the film bites off more than it can chew, with no clear narrative arc or admittance of some of Ali’s personal health struggles and other historical inaccuracies. Director Michael Mann’s attention to detail, is, as always, as respectable as it is aggravating, making the film not quite a knock-out.

Grade: B

— AR

“A Beautiful Mind”

Director Ron Howard and actor Russell Crowe flushed their system of Hollywood hoo-ha in their popcorn romps of “The Grinch” and “Gladiator,” respectively, then joined forces to tell the story of John Forbes Nash Jr. — genius, Noble Prize winner and schizophrenic.

Howard plays a few mind games himself, layering the film with multiple, engaging stories with Crowe uniting them in one powerhouse performance. Awkward and vulnerable, Crowe reclaims his crown of leading actor (not celeb
rity), a title won with “The Insider” but later lost with “Gladiator,” despite what the Academy said. Undoubtedly, though, this film will earn him a chance for a repeat statue grab.

Grade: A

— AR

“The Majestic”

Despite the hype, the shiny presentation and the faux Capra-esque feel-good nonsense, “The Majestic” plays more like a three-hour commercial for Jim Carrey’s dramatic acting ability then the saving grace of winter cinema. His respectable turns in “The Truman Show” and “Man on the Moon” failed to garner the attention of Academy voters and, as if to bury his bitterness in heaps of phony modesty and “Aw, shucks” mentality, Carrey stars in this sappy flick. The intriguing story line of blacklisting in Hollywood is soon forgotten as the film slowly and painfully manipulates viewers’ emotions merely for the sake of attaining Oscar gold.

Grade: C

— AR

“In the Bedroom”

Haunting and grim, “In The Bedroom” explores grief and death with powerful realism. Sissy Spacek, Marisa Tomei, and Tom Wilkinson, are so good at being so normal that when their pain externalizes, it is all the more disturbing. But it is the characters’ internal emotions, which the actors portray both fully and subtly, that make for the bulk of this interesting picture.

The film successfully favors character development over plot, realism over fantasy and just about every other anti-blockbuster-ism there is. As a peek into the lives of normal, grieving loved ones, the critically acclaimed “In the Bedroom” is the true sleeper hit of the season.

Grade: A/B

— AR

“How High”

Method Man and Redman smoke some brain-boosting maryjane and find themselves recruited by Harvard University. They accept the invitation with the plan to attend and wreak havoc on the unsuspecting Ivy Leaguers. Once enrolled, they set about tormenting the school’s president, throwing parties and mercilessly berating their roommate from Wisconsin.

This feature length homage to ganja contains plenty of Cheech and Chong humor, some sharp dialogue and a healthy dose of irreverence. Also, Hector Elizondo (“Chicago Hope”) has a hilarious turn as a rowing crew coach turned pothead. “How High” is lowbrow and fantastical, but it’s still a well-executed diversion.

Grade: B

— KM

“Amelie”

A visual tour de force, Jean-Pierre Jenuet’s “Amelie” captures the simple joys of the chase and wraps it in a technically intricate web of nostalgic newsreel inserts to impossible camera pans. This dichotomy works for the most part, showcasing the “Delicatessen” director’s film-school trickery while sticking to an almost too simplistic story. The audience falls instantly for the pie-eyed protagonist, played by Audrey Tautou in a role that calls to mind the universally adored Catherine Deneuve. The film’s a must for Francophiles everywhere.

Grade: AB

–MR

“The Shipping News”

Throwing a bunch of Oscar winners together in the chilly, gloomy setting of Newfoundland does not a gripping picture make. We like our Kevin Spacey clever and cocky, not some mopey sad sack. We want Cate Blanchett beautiful and deep, not a fishnet sporting, heartless mother. And Julianne Moore (it’s up for discussion whether we need her at all) is best when she is not faking her way through a mush mouth accent. Unfortunately, “The Shipping News” uses these lowlights to tell a quirky, yet not particularly moving tale, with symbolism so obvious it hurts. Accepting the past, reclaiming heritage, starting anew — we’ve seen it all before.

–AR