A snarling satire of Hollywood single-mindedness and its lack of any moral underpinning.

Man on the Train may be a modest film, but it offers privileged glimpses of transcendence.

The genius of Garfield's performance is that he fills him with equal amounts of terror and wonder.

Holofcenere genuinely wants to make pictures that plug into an audience's need for intimate contemporary comedies. But she doesn't do enough to quench that thirst.

The potential for action never lets up; you never know what's coming around the next corner.

At its best, the movie combines the musical and psychological meanings of a fugue. Sons and daughters and mother take up themes of dislocation and identity loss, and deepen them at every turn.

Once you get past the movie's needlessly fragmented framing device and its protracted introduction to a xenophobic rural Minnesota town, the core story gains some traction in your mind.

Nolte brings this movie a piece of his heart, and grants us peace.

A marvelously subversive, slyly manipulative effort.

McTeer delivers a messily cheerful performance as a woman who thinks nothing of brushing her teeth with beer.

The Cider House Rules is about many things -- chance, passivity, free will and self-invention -- but ultimately it comes back to Larch, who emerges as a toweringly noble figure even in his weakest moments.

Romance, intrigue and old-fashioned movie glamour make a dazzling return in Girl on the Bridge, Patrice Leconte's sumptuous love story with a razor-sharp edge.

A bit hard on the posterior, it is definitely easy on the eyes.

This documentary could have been a simple downer. Instead, it's a giddy, manic-depressive roller coaster - because it brings us eye to eye with Gilliam.

Its knockout success is a testament to Gore's eloquence and humanity and to the dexterity of his director, Davis Guggenheim.

Brilliant, brutally poignant.

There's no innocence left in Shrek 2. The helter-skelter story and throwaway gags emerge from a sensibility that confuses gossipy knowingness and jadedness with wit.

It's a top-notch action film, albeit on the bloody side, complete with decisive action, mysterious characters and a nobility and sense of purpose that allows its excesses to be forgiven.

The whole movie swings broadly from slapstick and mock suspense to song. But the film develops a strong amorous undertow; Kelly's script neatly allows for all the potential couples to get the fate or comeuppance they deserve.

A celebration of movie-studio ohana that should warm the hearts of moviegoers everywhere.

The title represents size and power, speed and hubris -- the very things the ship has come to stand for and the things that Cameron has restored to the cinema with grand, generous style.

Lovely, heartfelt and unforced.

Instead of being supple and expansive like the book, this Little Children is heavy-handed and snarky.

If you change the course of history, the world will experience a different kind of chaos. That's a time-honored movie cliche. Terminator 2: Judgment Day chooses to go against that philosophy, noisily and with some monotony.

Black and white has never looked more stark.

Critically lacks Highsmith's sixth sense for drawing you into the heart and soul of sociopaths, then jolting you with the realization that things are much worse even than they seem.

The giddy excitement of Startup.com comes from feeling as if you're inside the bubble as it soars into the stratosphere - and pops.

Well worth the wait.