Marc Savlov

Hey, hey, it’s the monkeys that rule this particular spot on the Earth, and watching them monkey around is a G-rated trip and a half. And with Tina Fey’s enthusiastic narration, you might even learn something, too.

The overall tone of this rocket-paced updating is exhilaratingly giddy, making it by far Disney’s best animated film since "Mulan."

A disturbing, spare story and a return to Polanski's earlier thematic grounds; it's not Knife in the Water, but it does feature fragmenting marriages and a big boat.

While the climax is admittedly something of a letdown after all the build-up, it's a hopelessly, helplessly original film, all guts, no glory.

Should be required viewing for prospective parents still sitting on the spermatazoan fence; after all, you're going to need a good sense of humor, aren't you?

So great are the charges raised against the Bush administration in the film, and so combustible the current state of geopolitics, that Moore’s film could actually prove to be the first in history to help unseat a sitting American president.

One of the most affecting and certainly the most intimate of the cinematic arguments against the war in Iraq yet made.

It’s a slight film, really a seriocomic tone poem about the absurdities and obstacles we can create for ourselves even when our intentions are for the best, but it brims with ordinary everyday good cheer and feels like just the right movie at just the right time.

This is the hot-button topic of the moment and audiences will be divided, but there can be no denying the gut-punch power of Andrews’ directorial debut.

There's not as much bombast here as there was in Parker's Commitments, but then Frears is an entirely different kind of director. He prefers the ensemble to the character study, and here he does a wonderful job of it.

Is it classic cinema? Perhaps not, but then again, American shores and citizens have never been lacerated by atomic weapons. What do we know?

"The Cross and the Switchblade" it’s not; this is the reality of Ukraine today, and Crocodile Gennadiy is a badass man on a mission … from God.

Schizophrenia never looked so good or so mesmerizing as it does here, and Paprika, while certainly not suitable for kids, manages to capture the childlike, helter-skelter chaos and curiosity of the human mind better than any other animated film.

Carter Burwell’s score is particularly thunderous, mirroring the onscreen action, and the 3-D really is – for once – superb, making for a rather breathtaking two hours. Well done.

Full of period locations, costumes, and one very clever Lana Turner gag, it's easy to see why Ellroy is so pleased with the film.

It takes a bit to get going, but once it does, Fresh never lets up.

This is not your mother's murder mystery, unless your mother's maiden name is de Sade and she has an appallingly bleak vision of modern society that occasionally fixates on the historical misdeeds of the corporate/industrial world and the correction thereof.

Referencing everything from "Deliverance" to "The Evil Dead" to "Fargo" and nailing its central conceit dead-on (literally!), this is one of those rare genre comedies that near-perfectly balances its blend of grue, guffaws, and gag reflexes.

Like its protagonist, it never hands you explanations on a silver platter, and it makes you think a bit, something far too few thrillers do these days.

Absolutely delightful filmmaking, chock-full of gorgeously goofy animation and a storyline that cleverly echoes everything from "Stalag 17" to "Cool Hand Luke."