Kirk Honeycutt

The film comes down to a mesmerizing portrait of a man who in any other age would perhaps be deemed nuts or useless, but in the Internet age has this mental agility to transform an idea into an empire.

The visual design of Wall-E is arguably Pixar's best. Stanton, who wrote the script with Jim Reardon from a story he concocted with Peter Docter, creates two fantastically imaginative, breathtakingly lit worlds.

Hysterically funny yet melancholy comedy.

Perhaps returning to Apocalypse Now will reinvigorate the once brilliant storyteller. Certainly, the images, colors and design still astonish. And let's hope that Apocalypse Now Redux will become the definitive version. For the movie hits home even harder now. [14 May 2001]

The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood.

This is one of the most wildly romantic movies in ages.

A fascinating mix of high-minded gossip and historical perspective, examines the clash of values -- of ritual and traditions versus media savvy and political ambition -- that leads to a crisis for the British monarchy.

It's an extraordinary film.

Pixar again hitches top-notch storytelling to the very best in CG animation.

Greengrass has made not only a thoroughly fact-checked film but a film that uncontrovertibly comes from the heart.

Utterly compelling account of a true-life criminal investigation where "truth" can never be pinned down.

The filmmakers were right to believe that a live-action version of this story would have failed to achieve the universality Persepolis does.

Not only (Kaufman's) most accessible and romantic screenplay, it's his most complete. The third act works like a charm and pulls all his themes, characters and conflicts together beautifully.

Lo Cascio and Boni inhabit their roles with keen intellectual and emotional vigor.

The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.

A glorious new addition to martial-arts cinema.

The weapon wielded by Cohen and Charles is crudeness. People today, especially those in public life, can disguise prejudice in coded language and soft tones. Bigotry is ever so polite now. So the filmmakers mean to drag the beast out into the sunlight of brilliant satire and let everyone see the rotting, stinking, foul thing for what it is. When you laugh at something that is bad, it loses much of its power.

Now Eastwood turns on a dime and tackles not just his first war movie but two war movies of considerable scope and complexity. If he doesn't nail everything perfectly, he nevertheless has created a vivid memorial to the courage on both sides of this battle and created an awareness in the public consciousness at a most opportune moment about how war feels to those lost in its fog.

Noir never has been this dark.

A wondrous flight of fancy, a stop-motion-animated treat brimming with imaginative characters, evocative sets, sly humor, inspired songs and a genuine whimsy that seldom finds its way into today's movies.

The always surprising Coen brothers have finally made a very serious movie with A Serious Man. It's about God, man's place in the world and the meaning of life, so naturally it's one of their funnier movies.

Capote represents something unique in cinema.…Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author.

It perhaps started with "The Queen," continued with "Young Victoria" and now achieves the most intimate glimpse inside the royal camp to date with The King's Speech.

Cage is brilliant.

The movie rolls merrily along with slapstick action and whimsical characters.

Arguably the most conventional documentary made by Errol Morris and, perhaps equally surprising, it displays sympathy toward its subject.

Haneke echoes the theme of Hitchcock's "Rear Window": Moviemaking is basically an act of voyeurism. We secretly examine people's lives in every movie. But in this one, there is a hidden camera, a movie within the movie as it were, forcing us to observe a character along side a mysterious stranger.

The movie does achieve something nearly impossible: Someone who doesn't even like the sport may care about Billy Beane and the 2002 Oakland Athletics.