Kim Morgan

Though Michael Winterbottom's Wonderland appears as gritty as they come, it uncommonly has a romantic heart.

It's a fascinating look into what Spielberg truly loves, but it's not so much a masterpiece as a nice milestone. [2002 re-release]

No matter how many times you've seen it, you marvel at how terrifying, gorgeous and surreal the jungle, the yellow napalm and, finally, the disturbed face of Martin Sheen lying under a swirling fan appear on the large screen. This is indeed, a dream.

It easily is the most beautiful picture released in America so far this year, perhaps one of the most beautiful films ever made.

Singleton just may be challenging us to laugh at the film or with it and then feel extremely uneasy for doing so. If so, that's admirable; if not, he's made a very strange soap opera.

Somewhere along the way, Stephen Herek's Rock Star decided to become a dippy, cliche-ridden drama and, worse, an odd indictment of metal music. Joy.

Almodovar loves the human flesh -- indeed, one of his films is titled "Live Flesh" -- and with the quietly subversive Talk to Her, he utilizes it not just as mere decoration but weaves with it textured themes of powerlessness, love and obsession.

Builds into a moment of such gorgeous rocking that you truly lose yourself in some musical otherworld you never dreamed you'd reach in current films.

Aronson's intriguing, complicated and well-filmed documentary will keep you talking for days.

Plods and frustrates, but forgivably, it is a deeply felt picture.

Filled with wonderful performances, especially by Hedaya and Walsh, Blood Simple remains a tight, beautifully ugly, neo-noir classic.

Funny, irreverent and moving, the unconventional Shrek may mock fairy tales, but in the process, creates its own.

The "Citizen Kane" of rat movies makes for a terrific overhaul in this wonderfully entertaining and, yes, touching take on that terribly confused man/child named Willard.

You have to experience the thing to understand its simultaneous recklessness and care, its humor and sadness in the name of failure, its playful but dismal take on formulaic Hollywood endings.

One of the purest instances of indie cinema this year. "Pure" meaning that in every aspect of filmmaking and intent this picture is peerless, so truly real, funny, poignant and sexy that it almost feels like a watershed cinematic moment.

A picture so powerfully harrowing, its slight shortcomings are forgettable compared to the entire film's cumulative effect. It's that searing.

Amusing, funny (intentionally and unintentionally -- it's dubbed, so many lines come out ludicrous) and, by the ending, exciting.

Effectively thrilling.

Though you get caught up in the criminal element (you really want these people to get away with it), you're also fascinated by who to trust. It's an unusual dance between the awkward and plain that becomes romantic and thrilling -- a subtly impressive feat to say the least.

Doesn't give off the same happy feel of the Indian arranged-marriage movie "Monsoon Wedding." Rather, it poses hard questions and leaves them unanswered.

'N Sync is bouncy, harmless fun. And so is this stupid movie.

She (Cho) can tell a joke, mimic, offer commentary, play cute, play ugly and be so hilariously absurd that tears will run down your cheeks.

With its eye-popping color, bold personality and snazzy tunes, Chicago is a breathtaking experience.

A coming-of-age movie that stands apart from the rest.

Daring work of genius.

Little spectacle but much bittersweet sensitivity.

Too sugary to be funny or offensive or even offensively funny, though any kind of funny would be welcome here.

A vibrant, multicharacter film that entertains, disorients and enlightens.