Luke Y. Thompson

Probably like nothing you've ever seen before. In a cool world, it would be guaranteed not only the Best Animated Feature Oscar, but Best Picture as well.

If The Boy And The Heron is indeed Miyazaki’s final film, it can serve as both a victory lap and a plea for a successor to arrive and take up the mantle of trying to make the world a better place through art.

Overlong, but with moments of greatness.

Herzog is primarily interested in Treadwell the filmmaker, but you'll likely be fascinated with him as a human being.

It isn't your typical scary movie--there are no "boo!" moments--but it may gradually creep you out and perhaps even more after you've seen it.

Spielberg can never top this. Period.

The final product is great populist entertainment and may even leave audiences with a feeling of comfort, however fleeting, in the knowledge that corrupt corporations don't always win

The movie's scares are intense, but the notion that the Terminator would move on to politics is even more frightening.

The directing's a bit obtrusive, but the script and the acting gets to the heart of Mamet's glorious obsession with macho B.S.

Vortex looks unsparingly at characters at the end of life, and finds their experiences as scary as any traditional horror tale.

Stolevski ably balances art-house and horror tones to a degree that fans of both will appreciate, but like the film’s pointedly empathetic point of view, his emphasis on each helps fans of one style understand and appreciate the other.

In the Harry Potter film series thus far, The Sorcerer's Stone remains the strongest, perhaps because the first look at any rich new world is almost always going to be more groundbreaking than its sequels. But Prisoner of Azkaban is a worthy and stylistically different follow-up, where Chamber of Secrets often felt like an unimaginative retread.

If not the best superhero movie ever, it's definitely in the top 3. Reeve will forever be Superman to most of us.

In the grand scheme of things, Goblet of Fire is perhaps closest to the original "Sorcerer's Stone."

Sentimental, overbearing, flag-waving--and a crowd-pleaser.

Five or six lives might have felt more concise; nine test the patience a bit, though it is impressive that each is composed of a single Steadicam shot.

Consider it an athletic contest of the mind--ESPN does, as the sports network regularly televises the finals.

Christopher Guest only wishes he could nail a parody/homage as smart and deadpan as this, but while his ensemble improvisation movies are increasingly full of mighty wind, Winterbottom's is consistently smart and silly without becoming caricature.

Part of the problem may be the use of non-actors in most of the roles. They look like real people, and they are entirely believable, but none has any kind of star charisma.

Tigers are such rare and beautiful creatures that you could just film them running around an enclosure for an hour or so and many would pay to see it. Annaud adds much more, and has made a compelling story that's truly for the whole family, without being overly sentimental.

Some of the finest ensemble acting this year.

Carlo Collodi’s serialized story for kids may have inspired it, but del Toro isn’t going for fealty. He very much has a take, and if he creeps you out with it, so much the better.

The original retains its dark tone and deadly serious anti-war message. For today's moviegoing audiences, this may not be your daddy's Godzilla movie, but chances are your granddaddy could teach you a thing or two about the context.

Blending stock footage, vintage audio, re-creation, and many testimonials from heavy hitters from Ben E. King to Van Morrison, Berns' son Brett keeps things visually lively, and not as morose as may be implied.

Neither pandering nor dull, Zathura plays exactly like a no-limits replica of the kind of space adventure that imaginative kids left to their own devices might enact.

Childhood is hard, and childhood grudges run harder. The Innocents pulls no punches in turning that fact into horror.

The sensitive art-house viewer should be warned: Though slow-moving at first, the film ends in explosions and violent death, with a level of sadism that will undoubtedly prove too intense for some viewers.

The pleasure is in watching veteran star Bouquet and the versatile Berling go at it -- they even seem to look alike.