Desson Thomson

As Juliet, Winslet is a bright-eyed ball of fire, lighting up every scene she’s in. She’s offset perfectly by Lynskey, whose quietly smoldering Pauline completes the delicate, dangerous partnership.

A thoroughly gratifying prestige thriller, thanks to riveting suspense and two brilliant stars.

Has a refreshingly keen ability to see everything from multiple angles.

Not only gives us a superb new cast of believable characters, it transcends its own genre. Only superficially a teen comedy, the movie redounds with postmodern -- but emotionally genuine -- gravitas.

Makes compelling, provocative and prescient viewing. You can draw your own conclusions.

Although fictionalized, it feels depressingly real. It's a 90-minute newsreel with a broken heart.

Frances McDormand enjoys the comedic role of her career.

The movie's intense watchability can be traced directly to superb performances by Jennifer Connelly and Ben Kingsley.

It avoids the compulsively calibrated storytelling of big-studio moviemaking for a slower-moving but powerfully absorbing drama.

Unabashed, streamlined entertainment, and you won't hate yourself in the morning for liking it.

The movie, when it finally gets going, is funny. At times it's hysterical. The great discovery about Noises Off is how tried and tested Frayn's basic formula is. The physical, verbal and situation comedy is universal, no matter who the performers. What counts in this ensemble production is the collective choreography, the great farce machine. In the movie, everyone, Reeve included, more than plays his part.

I don't pretend to understand a darned thing about Jean-Luc Godard's In Praise of Love...But it's undeniably powerful and, if you're up for the experience, exhilarating.

Nair is not making a caricature out of Lalit or anyone else. She's inviting us into the inner recesses of her culture. And it's both pleasure and privilege to be one of her guests.

It's not the enormous undertaking that impresses so much as the sheer ecstasy of flight and the ability of Perrin's team to catch it.

Fabulous mental escape. It's fun and playful, rather than dark and foreboding. And there doesn't seem to be an original cyber-bone in the movie's body. But it's put together in a fabulous package.

Observed mostly from Remy's rat's-eye view, Gusteau's kitchen is a memorable world-in-miniature with its vivid old-fashioned stoves, bright, brassy pots and general air of frenzied industry; never did sliced red onions or simmering soup look so fresh and real.

So full of creativity, so subversive, so alive.

Martin Scorsese brings honor back to the remake. He shines up this reprise of the original with original brilliance

It's tremendous fun. The movie -- directed by Rob Cohen -- switches pleasingly from exciting fights to moments of magic playfulness. It's doubly touching to experience Bruce Lee's fleeting life and, in the brief depictions of little son Brandon, to fatefully anticipate the tragedy to come.

Makes for fascinating cinema.

Wins you over with its devastating simplicity.

[Zaillian] employs every trick and convention in the Hollywood book, but with such expertise, it feels original. Never were the emotions this roundly affected -- around a simple board game.

Hilarious, touching and wonderfully dyspeptic.

An absorbing, intelligent and suspense-filled film... It's streamlined and rich at the same time -- like the best of the James Bond films, but serious.

Until its final stumble, this intelligence thriller, starring Val Kilmer, is charged with brilliance.

The scenes unfold with such unhurried delicacy, and the characters are so intriguing, you can ignore the editorial bluntness and savor the smaller, sweeter details.

So elegantly layered and emotionally restrained, it makes the horror at its center all the more disturbing.

Exults in the hard-riding romanticism of classic Westerns, but it takes revisionist stock too. It dismounts at places usually left in the dust -- the oppressed lot of women, the loneliness of untended children, adult illiteracy and the horrible last moments of the dying.