Luke Y. Thompson

There's a lot of imagination at work here; too bad just a little bit of it couldn't have been channeled into the creation of a better narrative.

No B-movie fan, save perhaps the extremely obsessive for whom this is old hat, should miss it.

Some of the finest ensemble acting this year.

The film's biggest strength is the same characteristic that may cause people to underrate it: that the group of friends we watch onscreen feel not like England's greatest actors showing off, but rather a group of friends who have indeed known each other for years through life's little triumphs and large tragedies.

Sure, it's amusing, but it isn't much more.

For all its flaws, though, Solaris is a good try, and a definite improvement over the dull remakes Soderbergh has been sleepwalking through lately.

Ought to gain some viewers here with its dark sense of humor and stylish cinematography by Jan Malir. Director Jan Hrebejk names Mike Leigh as an influence, but frankly he's way cooler.

If you're a fan of C.S. Lewis' Narnia books, all you need to know is this: Disney has done right by The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. It's impossible to imagine it done much better, in fact.

Though not as visually impressive as comparable Terry Gilliam fare such as Jabberwocky, the verbal wit is fast and abundant (abetted with cameos by Billy Crystal, Peter Cook and Mel Smith), and you'd better believe the midnight movie crowd will remember almost all of it.

By boiling the characters down to the most basic emotions and eliminating lifestyle-specific idiosyncrasies, we can enter the world of the story with ease.

Spectacular entertainment.

Robin Williams just may have found the greatest role of his career. Playing beautifully both to fans and haters, Williams' Sy is a character you don't know whether to hug or go vigilante on his ass, a balance Bob Hoskins couldn't quite capture in "Felicia's Journey."

Jovovich isn't at her best, but that's mainly because her character is required to be in shock most of the movie, except when she remembers that she's a Charlie's Angel, or happily sheds clothing to maintain that R-rating. Frankly, most of us can live with that.

Beautiful to watch and universal in theme by any name.

The makers of this film are clearly fans, and they've put more heart and genuine humor into this piece than Paramount has into the original franchise in years.

Bottom line: It's hilarious, vicious, offensive, thoroughly profane and a joy to watch, just like you'd expect. Be sure to sit through the end credits for a bonus song from Kim Jong-il to Alec Baldwin.

The first great film of 2005.

It’s rare to see family animated films as purely focused on fun as this one.

Beavis And Butt-head Do The Universe is pretty much what you expect—and it’s, uhhhhh, pretty cool.

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.

Since more moviegoers are likely coming to a Magic Mike movie for the moves than the plot, let it be stated the moves are outstanding, even if the movers remain mostly blank slates.

It’s less a story of the supernatural than one about a party on the wrong side of town, with hints of danger, interesting strangers to meet, and an overall cool vibe that even lingers the morning after.

If the movie were just meme-able moments, it might run out of steam, even with Cage delivering them practically nonstop. Thankfully, there’s an actual plot, which allows everyone else (and the film as a whole) to spoof less Cage-specific tropes.

Cage may hate that people quote his over-the-top moments out of context, but since this entire movie is one, you can’t really take any of it the wrong way.

As much as Piggy certainly has points to make about passive-aggressive status quo maintenance versus open violence, it unabashedly delivers enough terror, tension, and gore before it’s done.

Gosling’s one of those actors for whom a recurring action hero role somehow feels long overdue, and the Russos have taken advantage of more than just his good looks and smoldering gazes.

It’s a compelling tale of three perfectionists who consider music to be their bond, but don’t work together very well unless they have to.

Almost two and a half hours long, and mostly consists of calm conversations. But don't be deterred, or you'll miss out on a study of character, class and changing times that puts Robert Altman's stodgy "Gosford Park" to shame.