An animated film both harrowing and heartwarming, about a story that will never, ever, be remade by Disney.

The film's headlong momentum streamrolls over all our questions, and we're carried along by the expertly choreographed action. Even after everything seems over, it isn't, and the last minutes are particularly satisfying.

May be a sardonic view of Japanese corporate culture, but that's not all it is. The movie is also subtly sexual and erotic, despite the fact that every scene takes place in the office and there is not a single overt sexual act or word or gesture or reference.

Leconte brings his film to transcendent closure without relying on stale plot devices or the clanking of the plot. He resorts to a kind of poetry. After the film is over, you want to sigh with joy, that in this rude world such civilization is still possible.

It’s a carefully crafted, almost reverential character study of man and music Hawke clearly and greatly admires.

It doesn't have the inspired perfection of Stranger Than Paradise, in which every shot seemed inevitable. But it's a good movie, and the more you know about movies, the more you're likely to like it.

Somehow isn't as exciting as a duel over a woman should be.

Mullen and Garfield anchor the film. Mullen, that splendid Scottish actor ("My Name Is Joe") and Garfield, 24, with his boyish face and friendly grin.

The Order is an enormously effective thriller, and yes, a timely reminder that there has never been a time in this land when darkness and hate didn’t thrive, and in numbers.

Despite the insularity, Punk Singer has a terrific story to tell, not least about the fascinating contradictions in Hanna’s character.

An Officer and a Gentleman is the best movie about love that I've seen in a long time.

It is a skillful, well-made film, although, since Ellsberg is the narrator, it doesn't probe him very deeply.

A linear story, or one that was fragmented more clearly, could have been more effective. Still, a good film, ambitious and effective, introducing a gifted young actress and a director whose work I'll anticipate.

No one, male or female, has any fun, but the men behave as if they do. They are all half-stupefied by the languor in which they drown.

Does for motorcycle racing what The Endless Summer did for surfing and it's enjoyable in exactly the same way.

Some of the resolutions of this myriad of conflicts and issues are perhaps a bit too tidy, but this is a richly layered and truly moving set piece, with a smart and insightful screenplay and great performances from the ensemble cast.

The Flower of My Secret is likely to be disappointing to Almodovar's admirers, and inexplicable to anyone else.

Here is a movie that knows its women, listens to them, doesn't give them a pass, allows them to be real: It's a rebuke to the shallow "Ya-Ya Sisterhood."

There is a kind of horror movie that plays so convincingly we don't realize it's an exercise in pure style. ''Halloween'' is an example, and John Dahl's Joy Ride is another.

The movie's strength is not in its story but in its unsettling and weirdly effective visual and sound style. (Review of Original Release)

Thanks to the subtle brilliance of Reilly and Coogan, even someone who’s never heard of Laurel and Hardy would likely see how magical these two were together.

The very best thing about the movie is its dialogue. Paul Brickman, who wrote and directed, has an ear so good that he knows what to leave out.

The movie, which should have been titled "Defend the Block," illustrates once again that zombie, horror and monster movies are a port of entry for new filmmakers. The genre is the star.

Nanette Burstein...provides steady, no-frills direction that includes snippets of Taylor’s movies, a myriad of behind-the-scenes photos and newsreel footage; there’s a nearly endless supply of material, given Taylor starred in some 80 films and offscreen was one of the most photographed and filmed people ever.

Pleasence, in a role that requires him to run sideways most of the time with his head at a crooked angle, is hilarious and frightening as a man going mad, and the film has an eerie appeal.

Scorsese tells the Wolf’s story almost strictly from the Wolf’s point of view. We never see his victims. It’s actually an effective technique, because the Wolf certainly never really saw his victims either — not as actual human beings who could be hurt by his financial hocus-pocus.

The Two Popes is the kind of well-made but flawed release you can wait to catch on home video.

Do not leave the film until the last credit rolls by.