Among many things that make the taut thriller Argo remarkable is this one: It depicts a 1980 rescue of American hostages from Iran yet begins by pointing out that the United States was partly responsible for the situation.

He's (Soderbergh) among the few directors working today who makes me wonder what he'll do next - and draws me into the movie house, whatever it may be.

I do wonder why a gay director's best-known movies about straight guys, Talk to Her and "Tie Me Up! Tie Me Down!," suggest that satisfying relationships with women are most easily achieved if they're 1) unconscious or 2) in bondage.

Anderson tells this story slowly, inexorably, with a sense of control I've never felt from him before. This is the least violent of his five dramas, the first where nobody dies. It's also the bleakest.

For a movie that ends in the profoundest depths of sadness, Boys Don't Cry contains one of the year's purest moments of joy.

Perhaps Zeitlin isn't really making an issue of class distinctions. Maybe he's just suggesting that we don't know these people very well, and our lives would be richer if we did.

For once, I didn't feel cheated by an unresolved ending, but let's hope this is the end. Robert Ludlum wrote three Bourne novels, and this is one series that ought not to be dishonored by inferior sequels.

Writer Steve Kloves, who adapted all of J.K. Rowling's novels except "Order of the Phoenix" over the last 11 years, neither wastes a word nor leaves out any essentials.

After an hour, The Pianist stops being the Holocaust movie and becomes a Holocaust movie.

Moore makes no attempt at visual reality. The colors and drawings employ the flat design of a handsomely decorated book, and the children have the huge eyes, disproportionately large heads and small bodies you sometimes see in Japanese animation.

Had Amy Winehouse not been a briefly famous musician – had she been an architect or a teacher or even a woman who mopped floors – the documentary Amy might have been nearly as compelling.

The Tony-winning Bosco, one of the great stage actors of the last 50 years, does a lot with a little in his restricted role; he's haughty, almost dignified by his angry silence. Linney and Hoffman stay pitch-perfect in their noisy desperation and sullen withdrawal.

Most of the movie feels like a loose, sometimes improvised lark among friends.

One of the most heartbreaking, unforgettable dramas in years.

Scorsese in his prime might've made better use of this hamming, but this picture feels like an exercise by a Scorsese clone who has tackled the master's themes - without his energy and economy of style.

This meditation on spirituality, loneliness and accountability could touch your heart's core.

The film requires close attention, especially while it jumps back and forth in time for the first half-hour, but all the pieces lock into place tightly by the end.

The movie is not credible, even in an inner-city setting. At the same time, it's touching.

A dark comedy that's as emotionally honest as any picture of 2002.

Breathtaking masterpiece.

Succeeds as an action film, character study and metaphor for our own terrorism-obsessed time.

If this project is some kind of huge in-joke, I’m willing to admit I didn’t get it. But if I did get it (and I’m afraid I did), it’s a huge disappointment.

The film could hardly be less American in tone: It has no villains. It provides complete and comfortable closure for none of its relationships.

The result is a film that has "Masterpiece Theatre" production values but not an ounce of dust upon it.

Like all his movies except "Badlands," a taut 1973 debut, "Tree" looks gorgeous, has philosophic ambitions, meanders wherever Malick's imagination takes him and stays dramatically inert.

I never thought I'd crack up watching a family mourn the death of a beloved daughter. But I've never seen a film quite like The Host, and that's far from the most bizarre thing in it.

It gives such a down-to-Earth view of the joys, terrors, boredom, anxieties and camaraderie in a war zone.

Keeps its sense of humor while dealing with serious issues.