Gregory Weinkauf

Funny, sad, moving and, above all, astute, making I Capture the Castle a fabulous film. Even the cars are tasty.

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 lavish drama spans England, France, and Spain (shot mostly in Montreal), and Duigan elegantly paints a moving romance of errors amid torture, bloodshed, and terrible tragedy.

Smith has fashioned a complex, contemporary Bible epic on his own terms. By turns crafty and clunky, pious and profane, it's clearly a labor of love.

The movie features several political themes for adults and is mostly delightful for kids. Just consider yourself warned about the live-action Carly Simon video at its tail end.

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

Austere little creep-out.

It's light fantasy, but lovely and astute.

The resulting project matters much and should be seen, but how much it'll be FELT depends on your specific level of patience for a director who presumes audience comprehension to be at about a fourth-grade level (at least he's a shoo-in for Hollywood).

Forces its snuggly weirdo upon us and instructs us from the get-go to love him.

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

Awesome! Bravura! Captivating! Dazzling!

Despite its formalistic failings and truly absurd Porn Moment, there's a morbidity here that feels quite genuine, and, after the movie is over, it amounts to rough-hewn poetry.

A loud and ghastly movie to sit through and not short on gratuitous hideousness, but Darabont has also done his best to baste it with humanity and sweetness.

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.

Overall, Dillon has scored at the helm. Wholly engrossing his film is not, but a valiant first feature it is.

In the end, after the super-modified shovel racing, wild half-pipe action and integral employment of Black Sabbath's "Paranoid," there's a poignancy to the piece.

In tampering with history, these storytellers present to us a rare and wonderful case of enlightenment beyond the accepted truth.

Easily one of the finest and most sophisticated films of the year.

Competent if unremarkable tragedy.

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.

It's possible that Gloomy Sunday is more "significant" than it is compelling.

Gentle and gorgeous, honoring atmosphere over attitude.

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.

Sensational yet sadly unsatisfying.

Director Kevin Rodney Sullivan (How Stella Got Her Groove Back) and editor Paul Seydor serve it up beautifully.

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

Of all the A-list men playing dedicated authority figures, Star Wars alums Harrison Ford and Liam Neeson remain among the most amusing and pleasing, which is why K-19: The Widowmaker glides along engagingly rather than sinking.