Kirk Honeycutt

Even a klutz could hardly make a bad movie about these compelling figures. Thankfully though, Guido Santi and Tina Mascara are superb filmmakers, fully alive in their terrific film Chris & Don: A Love Story to all the undercurrents of art, social class, sexual orientation, challenging relationships and, most especially, the touching love story at the heart of their film.

A satisfying comic gem.

"Dream" brings together so much history, sheer adventure and terrifying moments.

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.

The film is superbly crafted, covering huge amounts of time, people and the zeitgeist without a moment of lapsed energy or inattention to detail.

Has the hallmarks of a top-notch Jewison production -- splendid performances, especially from leads Michael Caine, Tilda Swinton and Jeremy Northam, a pulse-quickening pace and production values that establish story and character within a distinct environment.

Everyone involved -- actors, crew, director Susanne Bier and screenwriter Anders Thomas Jensen in their second collaboration -- are in peak form in this unflinching look at repressed feelings and emotional devastation.

A superb portrait of a father and son disguised as a docu about Haskell Wexler.

Infamous gives you the unique opportunity to see how two sets of filmmakers can take exactly the same story, make extremely tough though different choices in emphasis and tone and achieve brilliant movies.

Michael Moore intelligently, comically and incisively diagnoses and calls for the treatment of a sick U.S. health care system.

It's simply old-school stunts and movie magic.

The Hours makes for a fascinating and ultimately successful stunt in its cross-cutting among the decades.

Biutiful has a strong, linear narrative drive. Nevertheless, and most of all, it's a gorgeous, melancholy tone poem about love, fatherhood and guilt.

Christian Bale plays Dieter Dengler and this is one of the actor's most complex and compelling performances.

Spicing up the entire package is a screenplay by Canet and Philippe Lefebvre that bristles with wit and energy.

The final episode of George Lucas' cinematic epic "Star Wars" ends the six-movie series on such a high note that one feels like yelling out, "Rewind!" Yes, rewind through more than 13 hours of bravery, treachery, new worlds, odd creatures and human frailty.

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.

Doillon never lets his characters slide into cliche. They act and react from a wealth of contradictory impulses and long-standing prejudices in this masterful tale of frustrated desire.

What this strange yet strangely beguiling film does is capture one of pop culture's great entertainers in the feverish grips of pure creativity.

All the movie's playfulness rubs off on the actors. Scenes crackle with life. The chemistry among all the actors is terrific.

A glorious new addition to martial-arts cinema.

The hundreds of animation artists on this three-year project made enormous contributions to the final film. There is not an off-kilter moment nor awkward effect in the entire movie.

This is a marvelous family story, tapping into all sorts of childhood dreams and nightmares involving Mommy, monsters and heroic youngsters. Selick's imaginative sets and puppets are in perfect pitch with Gaiman's fantasy.

It's refreshing to witness a superhero with doubts. Maguire and Dunst again display the depth of talent they bring to these roles by injecting such everydayness into larger-than-life characters.

It's an extraordinary film.

The value of this film, not just to moviegoers today but to future generations, is simply enormous.

Whatever one's opinion of Johnston's art, this is documentary filmmaking at its finest.

Salt moves ever forward -- pushing, pushing, pushing its heroine to greater feats every minute. It doesn't stop for martinis, either shaken or stirred, or any other detours. The movie is lean and muscular, looking for action even in situations where a little sleight of hand might have done the trick.