Robert Dominguez

The pleasure of Ever After is that it never takes itself seriously. [31Jul1998, Pg. 47]

Ferrario deft use of old silent-movie footage - especially Buster Keaton - makes After Midnight enchanting.

It's Pucci - who's already won a couple of acting prizes on the festival circuit, including Sundance - who steals the film with a wonderful performance blending the awkward innocence, vulnerability and pain of being a teen.

Witt, who cut his teeth as a second unit director on action thrillers "Speed," "XXX" and "The Bourne Identity," instead pours all his energy into stylized, blood-spattered fight scenes that come at a breakneck pace and should please the target audience, who grew up blasting the walking undead on Nintendos.

Offbeat, engaging documentary.

Bright is pretty to look at, but it's a slow-moving, meandering work that isn't as complex or mysterious as it appears.

Quirky, character-driven comedy.

Gentle and understated (if somewhat creepy).

Rife with beautiful imagery and loads of symbolism, though none of the stories is particularly compelling on its own.

The low splatter quotient may not be enough to quell the blood lust of slasher fans, but several neat plot twists - and a surprise ending - make Cry Wolf a cut above the rest.