Chris Kaltenbach

A non-stop cinematic funhouse impossible to resist.

Rarely has combat been portrayed as beautifully as in Crouching Tiger, Hidden Dragon, Taiwanese director Ang Lee's thoughtful meditation on menace, mortality and the martial arts.

A film that celebrates the intricacies of life in ways both splendid and mundane, revealing it all with unflinching honesty.

True-blue Incredibles is a super tribute to the power of family and the might of imagination.

There's not a false moment within the film's 88-minute running time, nor many that could be done any better.

In a stroke of voice-casting genius, the voices of Marjane and her mother are provided by real-life mother and daughter Chiara Mastroianni and Catherine Deneuve, respectively, both of whom bring heft and measured emotion to the characters.

Alien, even with some scene tinkering that has left this "director's cut" one minute shorter than its original release, is still one of the creepiest, scariest, most shocking films ever.

A quiet, heartfelt story of love and loss.

Thanks to a combination of fluid camerawork and careful pacing, the Belgian writer-directors have produced a compelling narrative that sounds, if not a cautionary note, a worried one.

Four Christmases works because of some genuinely funny setups, a pace that never dwells on one gag (or even one family) too long and a careful mix of slapstick and bawdy humor. But mostly, the film works because of the astonishing acting talent the filmmakers brought together to make it.

A bravura, resonant performance by Nicolas Cage, combined with some hard questions raised about American responsibility for the worldwide glut of firearms, make the film close to a must-see, if not a must-love.

All about mood, and not one bit about action - which explains why it's at once both the most passionate film of the year so far, and the most determinedly inert.

There's an element of the nature film to Grizzly Man, and those passages are truly stunning, offering an up-close look at these magnificent animals.

The true heartbreak of Maria Full of Grace is that it never comes.

A chilling reminder of the precipice the world stands on nowadays, from a man who looked over the edge more than once.

Bracingly honest and ceaselessly compelling documentary.

Offers a welcome continuation of what has proven a fascinating journey both for the film's 11 subjects (three of the 14 opted out of the project this go-round) and its audience.

It's every bit as thrilling and engrossing as the best spy thriller or cop flick.

A thoughtful, bittersweet film biography of the Cuban writer that captures both his irrepressible spirit and his sometimes overwhelming melancholy.

The story line meanders and too many scenes drone on; Knocked Up is in serious need of a good editor. But the laughs are plentiful, and it's the rare movie these days where one doesn't feel guilty about finding the whole thing funny.

The real attraction is watching all these guys and gals on the train, so young, so dedicated to their music, so unconcerned about almost everything else.

Spring, Summer values life, beauty and even human fallibility, ascribing to humanity a nobility we neglect at our own peril.

Hero is a movie that lives up to all the nobility of its title, a gift to movie audiences who cherish the opportunity to be transported to a heretofore unimagined world and absorbed totally into what happens there.

This is Mitchell's show, and his performance lives up to his triple billing as writer, director and star.

As great as the film looks, the story, adapted from a novel by P.D. James, never quite comes into focus.

It's a frustrating film in that its characters resolutely defy convention, and its story offers no epiphany, no one moment when everything becomes clear.

Simply twiddling with the fine-tuning on the central character is not enough to warrant remaking a film. Both Glover and Willard deserve better.

There's a good heart beating at the core of Victor Vargas, one that belies its R-rating.

Inspirational, heart-rending and the movie that made Taylor a star - what more do you want? [19 May 2007, p.9S]

As the film opens with, predictably, "Vertigo" and its "Hello, Hello" refrain, it's his steady presence and unforced charisma that anchors each performance, allowing Bono to emote for all he's worth.

If Kill Bill Vol. 1 was bloody exhilarating, Vol. 2 is bloody great. And, as a bonus, not nearly so bloody.

In the end, this is a movie that doesn't respect its own power. Less of a stacked deck would have left Vera Drake to play a far more effective hand.

Winchester '73 has a little bit of everything, including a central conflict straight out of the Old Testament, and Mann's highly visual direction -- dialogue is sparse, and the movie looks gorgeous, filmed largely on location in Arizona -- shows that John Ford and Howard Hawks weren't the only directors able to translate their love of the Old West and its mythical figures to film. [05 Jun 2003]

Pucci pulls off Justin's transformation without resorting to histrionics; it's like a radio-station signal finally coming in clearly.

Like the particular brand of music Dewey espouses, this is a movie more concerned with exploiting rock than understanding it.

There's a subtlety to Crimson Gold that deserves applause.

It is, at once, among the most riveting and hard-to-watch documentaries of recent years.

Whenever the movie threatens to become just another visit to hillbilly-land, the music starts up and the film's gentle, irresistible wonder takes hold. Songcatcher is a film very much worth catching.

Soldini's consistently understated touch, and a poignant turn by Licia Maglietta as the confused and bemused main character, turns Bread and Tulips into a character study worth studying.

It's not hard to imagine these characters in a straight-faced Hollywood blockbuster. And that's the source of Hot Fuzz's genius, pointing out the thin line that separates convention from farce when Hollywood starts throwing its special effects around.

But there's a discomfiting side to her comic riffs, because in our all-too-concerned-with-image society, they ring far too true.

Chaos, in miring itself in the inequities (not to mention obscenities) of male-dominated culture, is after greater truths.

The New Guy doesn't have a new idea in its head, but it trods over the old ground with such wit and heart that its lack of originality can be overlooked, if not entirely forgiven.

Largely devoid of the usual Western histrionics, this 1957 film, thanks to the steady hand of veteran director Delmer Daves, represents one of the more sober depictions of the clash between chaos and order that has always been at the center of the movie Western. [26 Aug 2007, p.3E]

The risks these guys take seem outlandish, their accomplishments otherworldly.

Star Maps is the work of a talented group of young actors and filmmakers anxious to try as much as they can and see what works. Not all of it does.

A working-class drama that has its heart in the right place but undercuts itself by stacking the deck, letting its main character off too lightly and being overly impressed with its own profundity.

Thanks to the wonderful performances from both Korzun and Considine, there isn't a forced or dishonest moment on-screen.

In the end, viewers are left with a nagging feeling that this was a long way to go for the incongruous pleasure of watching 20th-century method acting on a 17th-century stage.

Chilling doesn't begin to describe Jonestown: The Life and Death of Peoples Temple...But the film never gets behind the chill.

Well-acted, lovingly put together and heartbreakingly honest.

It forces you to fill in the blanks, then refuses to judge whether you're right or wrong. It's almost like the audience writes its own script, and everybody appreciates his or her own work.

Viewers impressed by the fairly standard martial-arts action of "Crouching Tiger" will really be wowed after seeing this film.

Cool!

Anderson brings real gravitas to the unfortunate Lily Bart, in an Oscar-caliber performance that makes one wonder what Academy voters are looking for.

Paints a vivid and darkly humorous picture of a world where directors are all-powerful and vampires are real; whether you want to buy into either fantasy is up to you. I did, and had a grand old time.

A crackerjack thriller, laced with labyrinthine mysteries, moral quandaries and unspeakable evil.

This is Forster's show, and he doesn't disappoint.

Those willing to overlook its emotional grandstanding will find much to admire and even more to think about in this Oscar-nominated Danish drama.

The real hero here is Ghobadi, whose love and respect for the culture in which he was raised shines through every frame.

Reaches the highest comic heights when the show itself starts.

The Saddest Music In the World may not be for all tastes, but maybe it should be.

The film is the work of a visual genius who may have overextended his storytelling ability, but with fascinating results.

Fortunately, this film doesn't have to depend on off-screen dalliances to prove its worth.

The scenes between Dengler and Duane, between a force of nature and a force of reason, are the real heart of the film.

Offers a welcome perspective, reminding us that extremism in the name of a values system is nothing new -- not even on these shores.

Truth is, one can probably tell as much about Jackson Pollock the man by looking at his paintings than by watching this movie.

The Cockettes is a grand place to visit, even for those who wouldn't want to live there.

What's not to love?

Scratch will make even the uninitiated believe in the joy and propulsive power of hip-hop.

The martial arts wizard shows a nice feel for the Butch and Sundance thing.

The beauty, vibrancy and complexity of Indian culture is on addictive display in Monsoon Wedding. If only there were more to the film.

It twists in on itself mercilessly, rarely pausing to let the viewers catch up, but that's OK. A movie like this depends on staying at least a step ahead of its audience, and this one surely does.

Offers a welcome riff on a well-worn horror standard.

There are no surprise twists, no characters who rise above themselves, no cheap happy endings. There are just people struggling with emotions and situations they think are beyond their control.

For a documentary about a music festival, Soul Power doesn't include nearly enough music.

Disturbing, maddening, often confusing, but also charming, engaging and challenging in all the best ways.

It's a documentary about acknowledging genius, about just desserts, about artistic muses that refuse to give up. It's about great camaraderie and great music.

Isn't nearly the landmark comedy it thinks it is, but its quirkiness should appeal to the highbrow funny bone in all of us.

Washington is wisely cast as Marco; few actors command more instant respect, and the movie uses that to make his character both believable and sympathetic.

Filled with delightful sequences.

A snarling satire of Hollywood single-mindedness and its lack of any moral underpinning.

The potential for action never lets up; you never know what's coming around the next corner.

A marvelously subversive, slyly manipulative effort.

It's a top-notch action film, albeit on the bloody side, complete with decisive action, mysterious characters and a nobility and sense of purpose that allows its excesses to be forgiven.

A celebration of movie-studio ohana that should warm the hearts of moviegoers everywhere.

Lovely, heartfelt and unforced.

Black and white has never looked more stark.

Baadasssss is about feeling pain and frustration, about having a sense of purpose that overwhelms everything else, about great cost and great risk, the pain of isolation and the intoxicating effect of fighting against the odds.

This Film Is Not Yet Rated performs a great service, though not especially well.

Unsparing and uplifting - a wickedly difficult combination to pull off, but one that gives the film an emotional weight that's impossible to dismiss.

The best sections of Flushed Away, those featuring a nefarious French operative known as Le Frog (a hilarious Jean Reno), are also the most peculiarly British; no one lampoons the French with a better mixture of hard-earned loathing and grudging respect than the Brits.

Avoids pretension by never trying to be more than it is -- an acknowledgment that things frequently are not as bad as they seem. That's a concept that deserves a little spreading.

Serenity may be short on exposition, but it's smart and fun.

It's a startling physical transformation, as Noland goes from flabby desk jockey to lean, mean fishing machine. But even more remarkable is the mental transformation Hanks effects.

As they've proven before and doubtless will prove again, Soderbergh and his cast are capable of better, weightier, more substantial stuff. But for now, slumming has rarely seemed more appealing.

There's a persistent innocence to this movie that will work wonders on all but the most churlish.

It was a time in history eminently worth celebrating on film.