A great, bizarre, and ultimately very, very unique film.

Me, I’ve now seen the movie three times and I’ve laughed and I’ve cried. It comes the closest to any movie experience I’ve had in re-creating the aftermath of unexplained suicide. Sometimes there just aren’t any answers.

Although Nicholas Nickleby occasionally evidences a simplicity that resembles a Junior Scholastic production, the movie's enthusiasm is contagious.

Ultimately, Meyjes focuses too much on Max when he should be filling the screen with this tortured, dull artist and monster-in-the-making.

Near-perfect in every way, The Hours is a compelling meditation on making the most of what we're given in life. For some, it may be too cerebral a film experience, but for those who blissfully fall into its finely tuned modulations, The Hours is timeless.

Szpilman takes to performing sonatas in thin air, eyes closed, those jittery fingers stroking nothing but air. It's a wonderful moment in a wonderful, ghastly film, and one of the most moving arguments for the redemptive powers of art ever made.

Delicious.

By film's end I was fantasizing that Peter Stormare would drop by with his "Fargo" wood-chipper in tow, but it was not to be. Appalling.

Everything about this swift and gorgeous and tremendously enjoyable film is played out in a rush of staccato edits, crisp performances, and charmingly giddy subplots that coalesce into Spielberg's most purely entertaining movie in years.

Isn't going to make anyone's head explode with joy, but it is sweet and sporadically funny in its own loopy way.

It's a botched job through and through, made all the more distressing by Bullock's recent announcement that she's throwing in the romantic comedy towel for a while.

Ramsay is experimental, unconventional, and forever reaching at the gorgeousness in grief and despair. Her film moves slow as molasses, slow as paint drying -– and all the better to see the colors and the complexities.

Cronenberg’s nonlinear narrative is trying at times – it keeps you nearly as off-kilter as the characters, and surely that’s intentional – but as a character piece about madness and stymied dreams, it’s remarkably realistic.

Fresh and raw like a blown-out vein, Narc takes a walking-dead, cop-flick subgenre and beats new life into it.

The best Scorsese we've seen in a decade.

If treats like this are evidence of Washington's special gifts as a filmmaker, Antwone Fisher promises great things for the future.

Isn't Lee's most personal piece, but it may very well be his most mature.

God forbid this should ever play on an IMAX screen -- the concussive soundtrack and relentless visuals would likely strike viewers deaf and blind (but what a way to go!). Simply breathtaking.

The film is at its best when painting the atmosphere and detail of 1953 Dublin.

What the movie lacks is spark and sizzle. There's no palpable chemistry between Lopez and male lead Ralph Fiennes, plus the script by "Working Girl" scribe Kevin Wade is workmanlike in the extreme.

Nemesis, by comparison, is about as exciting as a Tribble on Vicodin.

Intriguing and stylish.

Good, clean fun, with none of the icky aftertaste so common to “family friendly” ware, Drumline proves irresistible in more ways than one.

One might expect that with such low goals the film might have at least hit its target more often than it does. Schneider's mugging is relentless and his constant need to suddenly transpose himself into another character undermines the story's continuity and progression.

As sad and poignant and potentially hopeful as it is amusing. The movie is our story as much as it is Schmidt's, no matter if it's viewed as a self-reflection or cautionary tale

Even Cathy Moriarty-Gentile's role as a rival mob boss (with a nod to "Raging Bull") can't save this DOA affair.

Like its protagonist, the movie tries to rise above convention, flails about a bit, and slides back into self-parody.

Probably the ultimate writers' film, but it's also a brash, daring, and dynamic film -- as delicate as an orchid but as durable and malleable as the species.