Chris Kaltenbach

The most exhilaratingly horrifying movie to come out in years.

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]

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

Vanya's journey to find his mom is not easy or picturesque or heartwarming. But it's also never without hope.

It does offer that most pleasant and valuable of viewing experiences: A message movie in which story and character come first.

Sarah Silverman says things you wouldn't expect a nice, attractive Jewish girl to say. But that's only half her appeal.

The story seems fresh and alive. They also had the good sense to cast Dunst, at 19 already one of Hollywood's finest and most consistent actresses.

The movie may be too precious for mass consumption, but its filmmakers' willingness to assume the best of their audience, combined with its Everyman origins, suggest a movie that deserves a chance.

Equal parts fantasy and cautionary tale, a film that manages to be uplifting and off-putting simultaneously -- fortunately, more the former than the latter.

An opportunity to enjoy the pure adrenaline rush that has always been the hallmark of martial-arts cinema.

A more honest version of "Summer of '42."

A delightful and exuberant bit of romantic comedy and, as a bonus, it breathes new life into a pair of '70s musical chestnuts long off our culture's radar screens.

McConaughey and (especially) Hudson manage to make it all work, maintaining their likability even in situations where they inevitably end up acting like jerks.

Darren Aronofsky labors awfully hard to get across a pretty simple message in The Fountain. But his efforts are so ethereal and extreme, it's almost impossible to turn away.

Martin's script offers plenty of opportunities, but Martin the actor never takes advantage of them.

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.

Quinceanera may be the year's most nonjudgmental film, and therein lies both its greatest strength and most naggingly troublesome weakness.

With Anything Else, Woody Allen proves himself an old dog capable of thinking up some new tricks.

Extreme Measures, a new medical thriller with Hugh Grant and Gene Hackman as doctors with differing views on medical ethics, is an episode of "Beauty and the Beast" grafted onto an episode of "ER" as directed by Alfred Hitchcock.

The Bread, My Sweet is not for the cynical, who will doubtlessly find themselves gasping for air before the film's over and demanding a reality check of anyone who actually likes it. Their loss.

Elf tries so hard to be a holiday classic, to be a sweet-natured, charming little piece of holiday gloss, it's tempting to declare it so and simply go with it.

In the end, there's enough movie magic in The Prestige to keep you guessing, even after the film's over.

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

The year's most unsettling movie experience - and in this case, that's a very good thing.

The Beautiful Country is not a happy film by any means, but it does offer a fragile hope, that beauty exists at the end of every journey, if only one has the strength to finish the trip.

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

But the fine performances of all three leads rise above the cliches, giving the film a sense of reality that both impresses and inspires.

Ben Affleck and Gwyneth Paltrow are so immensely appealing, and their chemistry together is so unforced, that their presence alone makes a movie worth seeing. Thankfully, Bounce has even more going for it.