As a well-directed star vehicle with a couple of good action sequences, this is good, effective filmmaking, but I was periodically bored; when Ford and Pitt aren't lighting up the screen nothing much happens.

An amiable demonstration of how two charismatic actors and a relaxed writer-director (Brad Silberling) can squeeze an enjoyable movie out of practically nothing.

A comprehensive and devastating critique of the TV news networks' complacency and complicity in the war on Iraq.

One of the more admirable qualities of Robert Greene's Fake It So Real, is how it creates such a rich sense of place with such a mundane setting.

Documentary maker Don Argott (Rock School) beautifully explicates how this crew pulled off the most daring daylight art theft in history, though his passionate identification with the pro-Barnes faction limits the movie's political nuance.

This moving story is full of breathtaking compositions, gorgeous spectacle, and inspiring philosophies articulated by sympathetic figures.

A hopeless romantic meets a hapless realist in this gritty, elegant drama brimming with spontaneous-seeming close-ups.

If you treasure Gilliam at his best and take his ideas seriously, you'll probably be infuriated as well as delighted.

It's 88 minutes of solid, inventive music, filmed in a straightforward manner that neither deifies the performers nor encourages an illusory intimacy, but presents the musicians simply as people doing their job and enjoying it.

An exquisite mixture of dream and nightmare images, an attempt, fully realized, to live and communicate a world that is, in Cocteau’s words, “truly mine and . . . beyond time.”

The master principle of film noir -- that everyone is corruptible -- turns a pinwheel of plot complications in this fleet, stylish little crime drama from Mexico.

The story provides great roles for Jack Black as the sunny title character, Shirley MacLaine as his dyspeptic victim, and Matthew McConaughey as the good-old-boy D.A. who prosecutes the crime. But some of the best performances come from real-life residents of Carthage as they share their recollections on camera.

Vince Vaughn and Owen Wilson are enormously funny in this farce.

Bernardo Bertolucci's visually ravishing spectacle about the life of Pu Yi is a genuine rarity: a blockbuster that manages to be historically instructive and intensely personal at the same time.

Scorsese transforms this innocent tale into an ardent love letter to the cinema and a moving plea for film preservation.

Dwayne Johnson hops aboard as a stern U.S. agent hot on Diesel's trail, and the whole thing progresses to one of the looniest heists of all time. The result is the most exciting, visually jazzy, and absurd entry in the series.

Gary Baseman's Emmy-winning cartoon series arrives on the big screen in a delightful blast of bold drawing, brainy humor, and hard-charging songs.

The movie never finds a consistent tone -- the humor is dynamically offbeat, the dramatic moments a bit canned -- but Braff's affection for his misfit characters and skeptical take on how people sell themselves short in America make this the truest generational statement I've seen since "Donnie Darko."

This is a good, solid, intelligent drama about the ambiguities of what does and doesn't constitute courage under fire

The film has a fresh and imaginative feel for period detail that the talented cast - which also features Gabriel Byrne, Christian Bale, Eric Stoltz, John Neville, and Mary Wickes - obviously benefits from.

Both hilarious and poignant, with a Capraesque humanity that caught me completely off guard.

The actors are charismatic, particularly Ricardo Darin.

What begins as a one-night stand deepens, over the next two days, into a genuine romance as the young lovers embark on an epic dialogue that touches on the most profound questions of love, commitment, honesty, and identity.

Strange, unpredictable, and sometimes magical.

Certainly one of the director's most personal and obsessive works—even comparable in some respects to Malcolm Lowry's Under the Volcano in its bottomless despair and bombastic self-hatred, as well as its rather ghoulish lyricism.

This 1950 Hitchcock film came between Under Capricorn and Strangers on a Train, and if it isn’t the equal of those two sterling achievements, it’s still an intriguing experiment.

It may drive you nuts, but it’s probably the most inventive and original Godard film since Passion.

Through its first two-thirds it is as perfect a myth of adolescence as any of the Disney films, documenting the childlike, nameless heroine's initiation into the adult mysteries of sex, death, and identity, and the impossibility of reconciling these forces with family strictures.