Based on the bestselling novel by Nicholas Sparks, "The Notebook" (New Line) is an old-fashioned tearjerker gushing with gilded romance and florid sentimentality. Right from its honey-toned opening credit sequence the message is clear: Heartstrings, prepare to be plucked.

James Garner plays Duke, a resident at a lakeside nursing home. Duke describes himself through voice-over narration as a "common man" who's "led a common life," but who takes comfort in the fact that he has "loved another" with all his "heart and soul."

Viewers are led to surmise that the object of his affection is Allie (Gena Rowlands), an Alzheimer's patient at the facility. Duke spends each day reading aloud to Allie from the eponymous diary that chronicles the saga of a pair of young, star-crossed lovers in North Carolina during the 1940s.

The notebook serves as a bridge between past and present, as the tale recounted in its pages takes center stage.

The story-within-a-story involves a prep school debutante, also named Allie (Rachel McAdams), who, while vacationing with her well-to-do parents, falls for Noah (Ryan Gosling), a dashing mill worker from the wrong side of the tracks. As soon as he sets eyes on Allie, Noah is smitten, certain that they are destined to be together -- a sure sign that their hearts are in for a bumpy ride.

Their passionate summer fling is chilled by the wintry disapproval of Allie's class-conscious mother (Joan Allen) and ends in a teary-eyed breakup.

Life goes on. Noah ships off to fight the Nazis. Allie gets engaged to a soldier (James Marsden) of acceptable pedigree she met while volunteering in a GI hospital. But, as fate would have it, their paths cross several years later, both still madly in love with each other.

Director Nick Cassavetes shuttles back and forth between past and present, as it becomes abundantly clear that the old couple's story is somehow linked to that of the young lovers. If truth be told, any of the geezers at the home could see where this one's heading -- even without their glasses.

"The Notebook" is the kind of film that will generate strong reactions. Some will undoubtedly be turned off, quickly dismissing it as mawkish melodrama. Others less cynical will see this valentine for what it is, a wonderful, old-time love story replete with glowing photography, unabashed ardor and rapturous rain-soaked reunions -- full of Hallmark heavy-handedness -- but ultimately heartfelt.

Sure, it could use more understatement and less syrupy shots of swans, but as Dean Martin would say, "That's amore!" (Viewer warning: If your tear ducts have not swelled by the film's end, you may need to call an ophthalmologist.)

McAdams is radiant as the spirited Southern belle; Gosling is soulfully appealing. Together they exude youthful energy and passion. Likewise, old pros Garner and Rowlands bring an autumnal dignity to their roles.

The film's underlying message -- that true love cannot only overcome all adversity but can in fact work miracles -- should resonate with Christian viewers. And while one scene in particular is a bit racy, overall the film is a tender and touching portrait of marital fidelity, as witnessed by Duke's unwavering dedication to Allie. This is nowhere more beautifully illustrated than during the picture's three-hanky final scene. A word to the wise: Bring plenty of tissues.

Due to a few sexual encounters with shadowy nudity and recurring profanity, the USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

Fahrenheit 9/11 (Lions Gate)
Scathing indictment of President Bush's domestic and international policies leading up to and following the terrorist attacks on Sept. 11, 2001, which attempts to link his family with prominent Saudi moneymen, including members of the bin Laden clan, and which contends that his administration capitalized on the climate of fear following the World Trade Center tragedy to hoodwink the American public into an immoral war with Iraq. Director Michael Moore walks a perilous line between documentary filmmaking and partisan propaganda, which, though by turns compellingly sobering and engagingly entertaining, presents an unfairly one-sided blame-Bush-for-everything case that fails to take into account wider geopolitical realities, resulting in a manipulative and at times misleading interpretation of facts. (A-III, R)

Seducing Doctor Lewis (WellSpring Media)
Charming Canadian comedy about residents of a fallen-on-hard-times fishing community (led by Raymond Bouchard) who must lure a young physician (David Boutin) from the big city and persuade him to stay on in their tiny town as its full-time resident doctor to convince a company to build on their island a factory which would supply the unemployed locals with much-needed jobs. French-Canadian director Jean-Francois Pouliot combines a sweet story with solid across-the-board performances from his ensemble cast to craft a simple but exceptionally well-told tale full of hope which celebrates the importance of tradition in the life of a community and the role work plays in enhancing human dignity. Subtitles. Some minor crude language and sexual humor and an instance of drug abuse. (A-III, no MPAA rating)

Spider-Man 2 (Columbia)
Satisfying sequel which finds the masked web-slinger (Tobey Maguire) struggling to choose between his lifelong love (Kirsten Dunst) and his superpowered destiny, while battling a new menace --- Dr. Octopus (Alfred Molina), a mad genius whose indestructible titanium tentacles give new meaning to the term armed and dangerous. Director Sam Raimi once again spins popcorn magic, buttressing a more emotionally layered story with thrill-ride effects, making it twice as much fun as the original. Much comic book violence and a few scary scenes. (A-III, PG-13)

Two Brothers (Universal)
Captivating family drama set in Southeast Asia about a pair of tiger cubs, separated by fate, whose lives ultimately cross paths when they are reunited in a fighting arena and pitted against each other as forced enemies. Director Jean-Jacques Annaud earns his stripes, combining stunning wildlife photography with tenderhearted storytelling from the animals' point of view to craft a remarkable fable about family bonds and the healing power of love. Some minor violence and ongoing menace to the animals. (A-I, PG)

White Chicks (Columbia)
Painfully inept comedy in which two FBI agents (brothers Shawn and Marlon Wayans) go undercover to protect a pair of young white socialites at an exclusive summer resort from kidnappers by pretending to be the women. Director Keenen Ivory Wayans' preposterous premise quickly grows tiresome as do the unconvincing prosthetics and heavy makeup, while an actual story line is jettisoned in favor of flat jokes, well-worn gags and a handful of misogynistic jabs. A few sexual references, fleeting drug content, some scatological humor and fisticuffs, a few crass words and some profanity. (A-III, PG-13)

David DiCerto is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.