Richard Gere and Julie Delpy in The HoaxTHE HOAX

Offhand, I can think of no performer less well-suited to play a desperate, talkative, Jewish novelist than Richard Gere. Yet in Lasse Hallström's The Hoax, Gere is asked to portray exactly that - real-life author Clifford Irving, who, in 1971, received a $1-million advance for concocting a fictional autobiography of reclusive billionaire Howard Hughes - and the perceived miscasting turns out to be the movie's subtlest masterstroke.

Uma Thurman and John Travolta in Be CoolBE COOL

Granted, I've missed a few of the year's more high-profile flicks - Are We There Yet?, White Noise, Son of the Mask, that thing with the Heffalumps - but, in general, the releases I have viewed have been so crummy as to be some kind of joke. (The Citizen Kane of the group would actually be the remake of Assault on Precinct 13, which should tell you everything you need to know about Hollywood's output in early 2005.) But, with the arrival of Be Cool, the joke is no longer funny. Be Cool is worse than Elektra. Hell, it's worse than Alone in the Dark. I literally can't remember the last time I left a screening feeling so angered by the waste of time and talent onscreen; it's the sort of smug, lazy Bad Movie that puts you in a foul mood for the rest of the day.

Ethan Hawke and Julie Delpy in Before SunsetBEFORE SUNSET

Richard Linklater has directed some marvelous films in the past - particularly Dazed & Confused, The School of Rock, and (his best work until now) 1995's Before Sunrise - but he has never created one as stunningly, ravishingly alive as Before Sunset.