Mark Caro

The more you learn, the more questions you have about life in that Great Neck house. Leo Tolstoy wrote that "every unhappy family is unhappy in its own fashion," but not even he could have invented the Friedmans.

A visual and aural feast that combines elements of classic gangster melodramas, crime epics such as "The Godfather" and playful non-linear narratives such as "Amores Perros," City of God explores a deadly culture while feeling more alive than anything that's hit the big screen in years.

Finding Nemo and its Pixar predecessors tap into the shared gene among the kids and adults that delights in imagination-engaging, eye-tickling and wit-filled storytelling. You connect to these sea creatures as you rarely do with humans in big-screen adventures. The result: a true sunken treasure.

Raunchy, smart, ebullient, melancholy, insightful, surprising, funny, frank and sexy as all get-out.

It's funny, moving and true, and it respects the audience's intelligence as much as the characters'. That combination, no matter the movie's label, deserves to be treasured.

More flat-out funny than "Rushmore," but in neither film is the humor joke-based. What you're laughing at is the behavior of characters who are so fixed in their idiosyncratic worldviews that they can't help but careen into each other like out-of-control bumper cars.

The characters may be speaking Chinese, but such rousing entertainment needs no translation.

Family life rarely is portrayed with such warmth, clarity and vibrancy as in In America.

Announces the arrival of an undeniable talent (Meshkini) that has come of age.

A sign of O's effectiveness is that it works regardless of whether you know Shakespeare's play.

A triumph that deserves a broad audience.

Delivers that rare combination of winning traits. It's a low-key comedy with a risque hook -- a seemingly straight woman dabbles in lesbianism -- yet it maintains an old-fashioned faith in literate dialogue, believable behavior and themes that reach beyond the plot points.

An animated tale equipped with heart, humor, blazing action and not a sappy song in earshot.

At times Witcher leans too heavily on the familiar, with the ups and downs of the last half hour growing repetitive and wearisome. But his accomplishment is nonetheless impressive. [14 Mar 1997, p.A]

There's something simple yet miraculous about watching these beautiful animals interact with the wild and each other, even if their actions are being manipulated for the sake of drama. Annaud has taken his film's message to heart: He knows when to get out of nature's way.

The foulest holiday movie I've ever seen -- and the funniest.

Revives the art of smart, scathing movie conversation as it skewers Manhattan's singles scene while providing a goodly number of laughs. Like its subject, the movie may have its prickly moments, but it's awfully fun to watch.

The movie is the cinematic equivalent of a near-perfect three-minute pop song. It makes you laugh, smile and tap your toes over a brisk 88 minutes, and when it's finished, you're ready to hit repeat.

This is an art film in the true sense of the term, engaging the mind, senses and emotions in a way that only movies at their best can do.

His movie isn't a surgical attack at this problem and that; it's a cluster bomb intended to reap destruction, make a mess and jolt all who see it to react.

The movie boasts one of those rare twist endings that strikes the right emotional chords, and it deserves credit for laying its bets on a sexy, sympathetic Macy. Sometimes long shots pay off.

Dislocated from their native country and former lives, Bob and Charlotte come to establish a language of their own. Coppola has done the same, proving she boasts one of today's truly distinct filmmaking voices.

The climax, featuring what's essentially a suspended roller coaster of closet doors, is as thrilling as it is imaginative.

Boasts all of the drama and suspense of any reality TV show, but it actually stars smart people. And they're kids.

Violence may provide entertainment value in more crass or commercially minded projects, but in the unflinching world of Affliction, it leads only to the ruination of your soul. [5 February 1999, Friday, p.D]

With Cuaron leading the way, Harry has burst from the printed page to soar on-screen.

You wouldn't think the darn thing would have such lingering power.

One may gripe that the tale at times seems familiar, yet that familiarity is also part of the movie's power: Here's a story from halfway around the world that somehow connects with the hearts of viewers of almost any culture.

When a culture offers little more than death upon death, appreciating life's everyday beauty is as good an answer as these characters -- and this filmmaker -- can provide.

More intent on engaging the heart as it explores the mysteries contained within - mysteries that, as Lawrence and his spot-on cast demonstrate, are far more compelling than simple murder.

Generates genuine tension because it's propelled by actual human feeling, which, these days, turns out to be a surprisingly thrilling prospect. [11 Dec 1998]

The actors and writing lend unexpected dimension to all of the characters, and Lopez's Harry is an indelible antagonist, one who manages to be genuinely big-hearted and evil.

Such a stylistic inconsistency might be bothersome in another film, but here it's just part of the texture.

Washington, typically, is rock-solid in front of the camera, conveying ample warmth and sympathy. Behind the camera, he's a relatively straightforward storyteller, strategic in his use of lyrical touches.

Gordy barely is mentioned, even though he was the artistic leader who presumably profited most from the Funk Brothers' labors. Discussing Motown solely through the prism of the musicians is like assessing Picasso's works on the basis of the paint quality.

The movie is zippy, laugh-out-loud funny, persuasive and at times horrifying, as Spurlock undergoes his unpleasant changes with good humor and bad tummy aches.

Until it develops a bad case of verbosity toward the end, it improves upon its predecessor in almost every way, delivering flashier thrills while digging deeper into its characters and adding an overlay of wit.

A puzzle movie in which the puzzle is actually worth the time and effort to solve.

Combining the immediacy of the Internet and the wise perspective of history, Startup.com proves that investing in real-life drama can reap rich dividends.

Takes a premise that seems ripe for broad, vulgar joking and turns it into a sly, even subtle, comedy.

The day after seeing it, you're less likely to fixate on the flaws than to find yourself experiencing chuckle aftershocks as you recall the most outrageous gags. In these days of mostly forgettable comedies, that sensation has become all too rare. [15 July 1998]

A brilliant, absurd collection of vignettes that, in their own idiosyncratic way, sum up the strange horror of life in the new millennium.

That it's got a positive message may strike some as decidedly not "edgy" -- but they should be too busy stomping their feet to notice.

It's rare to see a movie that takes such joy in the power of words, not to create lofty works of art but to effect the simple, necessary translation of what's in one's heart and mind.

There's good pulp and bad pulp, and for most of its duration, Joy Ride is quality stuff.

They're a ragtag assembly for sure, and the results aren't pretty. But on a simple mission of entertainment, they get the job done.

This clear-eyed, low-budget drama is populated by troubled teens whose stories aren’t packaged in neat little bows. Their histories are sad, their feelings raw, their futures uncertain.

If Intermission isn't profound, it's got boisterous humor and energy, with U2's rollicking "Out of Control" leading the charge. Given the grimness of many Irish tales, Intermission represents less of a pause than a burst into a fresh direction.

Plays more like a gritty, episodic British independent film powered by a soundtrack of Who songs that illuminate the main character's turbulent emotions.

LaBute never loses sight of what shape he wishes this crafty story to take. In the end, his aim is true.

If you like Redford, Spy Game will be a real treat: a fast electric thriller full of the old Sundance charm and pizzazz.

A small movie about big emotions, with Green capturing the rush of love and sting of heartbreak with great vividness.

An offhanded, dizzy tale of uncompromising love in a wobbly world. Its main characters often can't see or stand up straight, but they never lose sight of that one person who occupies their hearts. [29 Aug 1997, p.A]

Smart and well-crafted, and it boasts complex characters, effective star turns and evocative photography of a small Alaskan town in summertime, when the sun never sets. It's a solid Hollywood thriller.

The biggest surprise may be what the filmmaker doesn't show; he withholds a big dramatic payoff, so the audience must fill in the blanks.

Never quite transcends its movie-of-the-week trappings. But either you're glad to have spent time with these three generations or you aren't. Bottom line: I was.

It's refreshing that a family movie dares to be as emotionally charged as this one, but you wish Miller had paused before he piled everything on and said to himself, "That'll do."

When a loving son makes a documentary about his father, you can forgive him for laying it on a bit thick - especially when his love for his subject, Ron Santo, is shared by an entire city.

A lean, mean tension machine, setting up its premise, executing it with smarts, throwing in enough twists to keep things interesting, and wrapping it up before anyone can get fatigued or reflective. It's on the money.

What lingers are the unsettling feelings, inexplicably potent images and realization that some of life's key crossroads are visible only in the rearview mirror.

You can interpret Lost in La Mancha as a sort of triumph of the creative spirit. Gilliam's darkest gallows humor always comes with a smile.

It creates a strong sense of a living, breathing community, and you root for its affectionately drawn characters as they experience the giddiness of triumph without forgetting the project's bittersweet inspiration.

The writing remains more intelligent than most thrillers, and the action is executed with such panache that even if you don't buy the reality of The Matrix, it's a helluva place to visit.

The biggest missteps come toward the end, when Prince-Bythewood's storybook instincts get the best of her and force a wrap-up that doesn't feel earned.

Corny and far-fetched it may be, but Frequency works - except for some stretches when it doesn't.

The Spider-Man saga is a classic for a reason, and the filmmakers don't squander the material's strengths.

Welcome to Mooseport isn't a belly-laugh farce. It's more along the lines of a "My Cousin Vinny," where you just enjoy almost everybody who crosses the screen. Such a comedy these days is more than welcome.

You watch the movie with an ongoing feeling of dread, and it's not a feeling that ever dissipates.

You find yourself tricked and having enjoyed the experience after all.

More thoughtful than advertised. And as a confection, it's less sweet and more flavorful than your average wedding cake. [20 June 1997]

The movie sticks with you, thanks to LaBute's observational powers and the three impressive lead performances. [15 August 1997, Friday, p.C]

A classic haunted-house story enshrouded in fog and steeped in portentous atmosphere. It gives you a case of the creeps oh-so slowly, then hits you with a clever, mind-warping way of saying, "Boo!"

Although not all of the movements are fleshed out to their full potential, The Red Violin still attains a certain symphonic grandeur that -- at a time when so many filmmakers are churning out cinematic ditties -- deserves to be applauded. [18 June 1999, Friday, p.A]

The outline of Murder by Numbers may be familiar, but the filmmakers and Bullock do an expert job of filling in the colors.

Against all odds this "Terminator" deserves to be welcomed back.

The surprise here isn't that 15 Minutes isn't a masterpiece; it's that the movie works at all.

Boasts the elements of something greater than a love story. Too bad it devotes them to something less than a great love story. [22 November 1996, Friday, p.A]

Captures the complex dynamic of a mentoring relationship like few movies before it.

Always engaging, never boring. You constantly appreciate Kaufman's intelligence and Gondry's lively filmmaking.

Reflects the sensibilities of its director, whose comedic performances in particular have indicated a game spirit and droll sense of humor.

A well-told, vividly imagined movie that doesn't pretend to be more than it is and doesn't lean on pop-culture references to win over its viewers.

It's suspenseful. Fleder and his able cast deliver a brisk, entertaining story that, despite straining credulity at times, earns a positive verdict -- no undue audience-rigging required.

Sure, you've seen some of these moves before, but Save the Last Dance triumphantly passes the audition.

As a head-trip movie with a moral, The Arrival engages the mind almost as much as it messes with it. [31 May 1996, p.F]

Fincher has a dazzling command of visual storytelling.

Liman packs enough firepower into The Bourne Identity to please the summer action fan, including a reshot climax that contains one of the niftier stunts I've seen recently. The centerpiece action sequence is a bravura car chase through Paris, yet the moments that bookend it are equally impressive.

Presents a few too many hugs and arguments over what's best for Will. But ultimately, the movie, like its protagonist, boasts an integrity and intelligence that are tough not to admire. [25 December 1997, Tempo, p.1]

These post-Unforgiven westerns are a tricky business. The classics were mythical morality tales, good vs. evil played out with pistols and black and white hats. But look at today's headlines: Killing is rampant, guns are a plague and violence is no joking matter. The somewhat overlong Tombstone ultimately can't reconcile these conflicting impulses either, but at least it consistently entertains as it tries. [24 Dec 1993, p.C]

There's no question that Quentin Tarantino's Kill Bill, Vol. 1 is a virtuoso piece of filmmaking. What's questionable is whether it's more than that.

Without insult to either film, Anger Management could be called "Punch-Drunk Love" for the masses.

Quite entertaining.

As she says in one of the film's more blatant thesis statements: "I'm not the world's best singer or best dancer, but that's not the point. I'm interested in pushing buttons." Madonna's doing just that in Truth or Dare, but what she chooses to reveal remains far more revealing - and entertaining - than almost any comparable self-portrait. [17 May 1991, p.C]

Sick provides no easy answers but stands as a strangely powerful testament of a man who laughed in the face of terminal illness and fought for his life using the tools of self-destruction, including the occasional hammer and nail.

With such skilled filmmaking and committed acting on display, Narc is far more a score than a bust.

The abundance of visual and verbal wit here ensures that the pleasure of watching Snatch need not be guilty.

If you require fine writing, sharp plotting and consistently good acting, you will be in for a long 86 minutes.

A throwback to the family films of the 1970s, like one of Disney's goofy capers crossed with "Willy Wonka and the Chocolate Factory."

Has such a cheerfully zingy energy that you keep rooting for it even when its jokes turn flatter than a jump shot at a YMCA pickup game.