The movie may not be perfect, but it's jam-packed with goodies -- like a breakfast cereal fun-pack with a prize on every box-top.

The movie pays tribute to sexual equality and to each gender's agility and strength of character.

Chilling doesn't begin to describe Jonestown: The Life and Death of Peoples Temple...But the film never gets behind the chill.

Well-acted, lovingly put together and heartbreakingly honest.

A razzle-dazzle lower-depths melodrama.

Enraging and enthralling.

The movie is, to borrow Rob's phrase, unassailably cool.

The movie dramatizes a social-sexual sea change with an out-of-control blend of cartoon farce and melodrama and clinical, often ludicrous sex scenes.

Kingsley gives the movie a jolt and blows the rest of it to pieces.

Uproarious, moving and thrilling.

It forces you to fill in the blanks, then refuses to judge whether you're right or wrong. It's almost like the audience writes its own script, and everybody appreciates his or her own work.

This film teaches the rewards of patience for directors, for actors and for audiences, too. The compelling reality of Juliette's plight comes from how subtly and gradually she emerges from her carapace.

Flags of Our Fathers fails as fact or legend. It's woefully incompetent as narrative moviemaking.

The movie has been compared, with some reason, to the French New Wave. But it's like "Jules and Jim" or "Band of Outsiders" blended with "A Hard Day's Night."

Look at Me is a virtuoso exercise in domestic tension - with the emphasis on "exercise."

Viewers impressed by the fairly standard martial-arts action of "Crouching Tiger" will really be wowed after seeing this film.

As a writer-director, McCarthy, like the characters and the places that he suffuses with emotion, has poetry in him - and he knows how to let it out. He has a talent for demarcating those spaces in which characters can become whoever they want to be.

Downey and Favreau and the special-effects team transform the trying-out of the armor and its powers into slapstick cadenzas. But equally entertaining is Stark's and Potts' recognition that they share more than a mere working chemistry.

Gripping footage about the controversial Qatar-based Al-Jazeera Satellite Channel, which transmits news to 40 million Arabs. But the movie offers neither lucid analyses of the channel nor probing portraits of its journalists.

A marvelous picture and a highly unusual journey in and around the Holocaust.

Affliction turns the sound on with sudden, crystalline clarity, and echoes with the haunting power of a suppressed truth that has finally been released.

Isn't an act of expiation but a gift of understanding.

You may find Va Savoir pleasant to sit through, but will it stay with you the next morning? Who knows?

Like Brian De Palma's 1981 masterpiece "Blow-Out," this movie contains cutting perceptions of obsession, institutional and professional myopia, misplaced loyalty in experts, misreadings of evidence and the kind of confusion that leads to conspiracy theories. But Fincher's movie falls short of masterpiece status.

May be thin, but it's also sharp, like a stiletto.

Doesn't match the impact of its predecessor, which both revived and reimagined the zombie-film genre.

Nolan pushes the twilight-zone atmosphere so hard that it loses its capacity for mystery. When it's not assaulting us with jolting audiovisual expressions of fatigue, this movie plays like a pedestrian response to David Lynch's effortlessly eerie "Twin Peaks."

Anderson brings real gravitas to the unfortunate Lily Bart, in an Oscar-caliber performance that makes one wonder what Academy voters are looking for.