Luke Y. Thompson

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

At the heart of it all is an entrancing lead performance by the teenage Kilcher.

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

Spielberg can never top this. Period.

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.

Perfectly capturing the zeitgeist of American high school life in the '80s, complete with a Rubik's cube reference, the funny and occasionally harsh Fast Times, with all due apologies to John Hughes and Mickey Rooney, may be the greatest teen movie ever made (even though Cates was the only real teen).

The zingers come so fast and furious that if you miss a few (and even the most alert viewer will the first time), there are always more.

Whatever else it may be, this movie is not like anything you've seen this year, and those weary of Hollywood norms owe it to themselves to seek it out.

The slow build of the action is deceptive, as at first the martial arts are all in the editing.

Writer-director Greg McLean, who has many shorts and commercials under his belt, makes a significant feature debut here, with unapologetic horror that doesn't compromise.

Tokyo Godfathers just might be the equivalent of "It's a Wonderful Life" or, to be hip and new-millennium about it, "Elf."

Overlong, but with moments of greatness.

Doesn't just kick your ass. It pummels your entire body; it leaves you trembling.

It's a work of art for sure, but a sadistic one. Oldboy is one of the year's best; it just isn't for everyone. If you're still interested, go for it.

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.

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.

It would be a masterpiece in any language.

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

The cast is full of cool cult actors past and present, and the movie is great at what it does. It's also brutal as hell, and not everyone will have the stomach for it.

When the action sequences work, they work well; the climax cribs heavily from 1989's "Batman," but improves on Tim Burton's finale.

It makes it clearer than ever before that these films are comedy. Granted, the sick kind of comedy that involves laughing at stupid people being ripped in half, but we know there are plenty of you out there.

One of the few unanimously acclaimed classics of Japanese animation.

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

Wildcat may have a tiny fraction of Avatar’s budget, and the bad guys—loggers, mostly—remain off-camera. But at heart, it has the same appeal. Get back to nature, put others first, be as good to your family as you can, but let them go their own way.

Though Orion And The Dark appears to go through the motions of a family flick, it throws some serious curves en route to a loving yet emotionally devastating resolution.

Once intended as a remake of Dracula’s Daughter, Abigail evolved into its own thing, and fans of original horror ought to applaud. The former, honestly, isn’t all that great; the latter, figuratively and literally, dances rings around it.

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.

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