Gregory Weinkauf

It's a feel-good movie for people tired of paying to feel bad. Bring it on.

This roaring crowd-pleaser also boasts hilarious bits of business, insightful observations into the human condition, and geysers of kitschy computer-generated blood.

Amazingly, almost every note of every performance in Bloody Sunday rings true.

James Bond wants us to believe he's an Everyman. The lovely thing is, it works.

As it stands, it's cute, occasionally poignant and outrageously implausible.

It's basically your above-average nice drug movie.

Manages to be both astoundingly derivative and reasonably entertaining at the same time.

Despite moments of gritty greatness that rival Scorsese's best, the movie is severely hampered by please-everyone syndrome, especially in the editing and choice of music.

If Hallström has a problem with tone, it lies in his almost supernatural niceness. Thus, what arrives on-screen is purely a man's feminism, simple and trite and beautiful and vital.

Guaranteed to jolt viewers of a Norman Rockwell mentality well into the 21st century.

Director Oliver Parker (An Ideal Husband) -- who also adapted the screenplay to include aspects from Wilde's unrevised four-act version of the play -- embraces the material with great gusto, delivering as charming and irresistible a film as one could demand.

Those seeking a spiritual counterpart to the yin of Lynne Ramsay's masterfully moody "Morvern Callar" will find their yang in David Mackenzie's exquisitely sorrowful Young Adam.

A grand, old-fashioned epic, this project is every bit as important as "Gladiator" or a new "Star Wars" episode.

Delivers a thoughtful what-if for the heart as well as the mind.

As a document of rockin, youth rebellion, the film lodges perfectly between "American Graffiti" and "Trainspotting."

If you're after some family-friendly classic lit at the multiplex, here 'tis.

This infusion of warrior philosophy is the gas in Ghost Dog's tank, and Jarmusch pumps it up for maximum octane throughout.

This is the breakout role for Sigourney Weaver, whose iconic presence still propels this ride beyond the scores of substandard imitations that followed. Why see it on the big screen? Because it's bloody brilliant.

There's elegance and grace here, fostering an opportunity to reflect upon why men get so dutiful about being down. It's worth the hike.

Stupid camera shenanigans aside, theater veteran Crowley deftly directs his large, stellar cast, and playwright-cum-screenwriter Mark O'Rowe serves up a wild knot of character arcs pitched somewhere among the neighborhoods of Ken Loach, Mike Leigh and Danny Boyle.

Without question, Shadow of the Vampire is a stately and elegant horror film, interwoven with delicious strands of black comedy.

Nolte’s charisma transforms Neil Jordan's The Good Thief from a vague, mildly exotic, character-driven caper flick to a soulful and engaging misadventure.

Deftly delivered and free of gratuitous gloss, yet enormously rich in its unassuming manner.

Despite its lively tone and brisk editing, the project's sad epilogue -- shot two years later -- suggests that Abraham and Mohammed will be duking it out on the world's dime for some time to come.

An inspiring effort, lavishly lensed and featuring a spicy (if occasionally synthy) score from A.R. Rahman. Best of all, it's also something of a musical, as the characters are not above breaking into song and dance to serve their emotions.

We have a whole new reason to appreciate cinema's most creative chameleon (Depp) since Peter Sellers. The film itself is pretty and sweet but a tad soggy.

What's most impressive about this is that, if one didn't know better, the naturalism of the performances could be taken for that of a documentary.

A solo "Thelma and Louise" crossed with a gender-reversed "The Fugitive" with a dry twist of "Fletch."

The film succeeds as massive, astonishing entertainment; verily, enthralling us is its chief goal.

An adaptation that can rightfully be called brilliant.

The movie remains engaging, with a couple of sequences verging on stunning.

What isn't hard to say is that Noé really isn't a very talented filmmaker.

Ryan's performance burns with a rare and passionate veracity. The other half of the delight comes from director Jane Campion, whose sensualist eye and scabrous heart infuse In the Cut with guts and glory.

Any story's a good story if it's told well, and this one is, with chuckles to spare.

Kubrick's comic gem sparkles with enduring relevance.

The design is gorgeous, the dialogue delicious, and even the supporting characters prove resonant.

Smart, sassy and much more fun than most political diatribes.

Revelatory and disappointing.

Very charming and funny movie.

A pensive, reflective movie, more or less equal in tone to Ang Lee's "The Ice Storm," yet, because of its temporal breadth and tight emotional focus, it packs a more intimate punch.

Thankfully, Emily Watson comes to his rescue with her spot-on portrayal of the killer's blind girlfriend; her rich performance works wonders in the absence of Jodie Foster. Now, if only they could remake Hannibal before they assemble that boxed set.

Tamahori pumps a tremendous amount of energy into his Bond movie, and it's an electrifying ride.

The extra-short length is puzzling -- about half an hour has been lopped off the length of the original Canadian release -- but what remains feels whole and wholly satisfying, a rare, successful merging of the obvious and the haunting.

Rife with silliness, such as the flashbacks within flashbacks of characters who were not with one another at the time, and occasional unintentional laughs -- but it's also a good, raucous kick in the behind, which is literally all it aspires to be

This thing's all in fun. It's just a perfect movie for people who like to shout at the screen, so have at it.

Sometimes the cinema is just heavenly, and this is one of those times.

The nuances of the performances -- in dialogue and dance -- and the rich, organic feel of the locations mark Amari as a director of significant promise.

Hallström has leavened the story's bleakness with great warmth, fashioning one of the finest films of the year.

Powerful, sensuous and thematically hokey transsexual adventure.

Not a great film, but a good one.

The bulk of the film showcases some of the best direction of actors this year.

Well redeemed by its dank atmosphere and cracker-barrel performances.

Brando wanders through the movie as if he's tolerating an annoying guest, sweetly charming one minute, detached and obnoxious the next.

Thoughtful and somewhat languid adaptation of Anton Chekhov's 1904 play finds its beauty in the heady performance of Charlotte Rampling.

Hero keeps its characters stiffly archetypal, like chess pieces sent whizzing through outrageous maneuvers. Unfortunately, this apparent choice of spectacle over intimacy put me at a slight remove.

Braugher does much to hold this show together, because without him, the reality gets muddled. He's a terrific balancing agent for both Caviezel and Quaid; kudos to casting.

It's excessively quirky and a little underconfident in its delivery, but otherwise this is the best "old neighborhood" project since Christopher Walken kinda romanced Cyndi Lauper in "The Opportunists."

While much of the film is as scattershot as life itself, there are a few superb sequences involving lucid dreaming that really get down to business.

Whatever your orientation, these bosom buddies are bound to charm you, and perhaps by joining them, the very talented MacLachlan may continue to find work.

The movie will leave you smiling forgetfully on the way out, and Myers will have done his job.

All manner of superstitions, religious conspiracies and insurrections are aired, resulting less in awe than bewilderment. However, taken as an exciting and expansive cultural bridge, the film is a roaring success.

Meandering but reasonably charming.

Not to be missed.

Grind does evince a true love for skating, and both the street action and the actual competitions are brilliantly performed and slickly lensed. That it's also funny and excels beyond Youth Culture 101 is a nice bonus.

The resulting piece resonates upon the American condition, deliciously detailing the whimsy, violence, intolerance, and shallow fantasies that fuel this nation. Oh yeah, and it's funny.

The Dreamers is a real humdinger, at once an intimate romance, a glimpse into a rather unconventional friendship and a beautifully focused celebration of cinema itself.

The delight of this awesome thriller is simply that Schwarzenegger--an old hand at this sort of running-around-shooting-henchmen thing--could easily sleepwalk through the movie...but he doesn't.

Arteta targets Middle American ennui with wit, compassion and no shortage of ornery malaise.

Bright, lively and liberating movie.

This beast is as subtle as a Red Bull enema, but it succeeds magnificently as compulsively watchable spectacle.

Akerlund and crew use their full arsenal of lenses and editing techniques in service of leaving you spun, but it's undeniable that this movie was produced by steady hands and thoughtful minds.

A visionary breakthrough for the young directors, a darkly alluring and largely successful attempt to crowd the territory of Roman Polanski and Dario Argento.

It's light fantasy, but lovely and astute.

At last Dreamworks has given us the stuff of nightmare.

Heavy-handed, saccharine message somehow goes down good.

What makes this movie special is the meticulous attention placed on each of its characters, employing them not in the traditional "melting pot" manner that is so common, but as part of a grand mosaic that actually seems to be worth sharing.

A big gob of fun.

The effects are smashing, yet there's a heart behind them.

Bellyflops into the increasingly complicated American high school experience with a healthy reservoir of wit.

An animated extravaganza of Gallic wit and soul that delivers more wild humanity than many of the year's live-action features. In a word: go.

A beautiful and timeless achievement, Conrad Rooks' 1972 adaptation of Herman Hesse's appropriation of East Indian mythology still entrances.

Overall it's reasonably thrilling anyway. If you're hoping for a brilliant revisionist take on the franchise, forget it.

This film is a miracle, an extravaganza equal to its predecessors and in some ways more stunning. It is a profound testament to the extraordinary power of moving images and sound.

A nifty little war movie that defies convenient categorization.

This thing moves brilliantly, sparkling like nothing we've seen domestically since "The Wiz" or "Xanadu."

I love it, but much in the way I managed to love "The Phantom Menace" -- in spite of its bloat, swaggering self-importance and largely neutered characters.

What we have here is an historical document of inestimable value, describing in no uncertain terms the terrible and beautiful times before AIDS.

Bjork holds the movie together, her natural charisma and the overwhelming intensity of her emotions should blind a lot of viewers to the ludicrousness of the story and the intentionally rotten videography.

The confusing, demanding role finally brings the actor home, and us with him.

Since the narrative's destination is awkwardly obvious, and the tone occasionally melts into a sticky-sweet mess like cotton candy in the sun, the movie is most often saved by its generous helpings of clever dialogue.

The striking graininess of the film stock, the near-documentary style of the setups, and Michael Nyman's attentive score add up to a relatable and ultimately hopeful experience.

This sensuous, exotic film is more like an issue of "National Geographic" come to life, rich with cultural detail and insight.

Pustules, puberty and pregnancy...seven stories tall! Mostly grand but occasionally grody

It's definitely an enchanting spectacular for Potter fans anxious to ride the Hogwarts Express toward a new year of magic and mischief.

A thrilling tale smartly told, with an abundance of wit and invention. It's a classic.

Lars von Trier's latest thingamabob is a large, pretentious blob of coulda-been. As in, it coulda been deep and insightful. It coulda been sociologically challenging. It coulda been formalistically thrilling. But it isn't.

The movie is smart, funny, romantic, and rousing.

This is a powerhouse of a film, but not for the obvious reasons that it's about a female serial killer, scampering lesbians and whatever. The project's strength instead emerges from a sense of nobility and purpose in honoring its characters.