This is the kind of movie that cults are made of, and after Little Shop finishes its first run, I wouldn't be at all surprised to see it develop into a successor to "Rocky Horror Show," as one of those movies that fans want to include in their lives.

It is to Lelio’s credit that he steers clear of stereotypes and lets the story unfold organically without judgment or sentimentality. There is an unflinching honesty and intelligence here.

A triumph of style over story, and of acting over characters.

By occupying their roles believably, by acting as we think their characters probably would, they save the movie from feeling like basic Hollywood action (even when it probably is). This is one of the year's best thrillers.

Sleeper establishes Woody Allen as the best comic director and actor in America, a distinction that would mean more if there were more comedies being made.

This is a quietly gripping gem.

You're looking for depth and profundity, this is the wrong movie. But under the direction of David Koepp ("Secret Window," the screenplays for "Mission: Impossible" and "Spider-Man"), this is an expert and spellbinding adventure.

Ghostbusters is one of those rare movies where the original, fragile comic vision has survived a multimillion-dollar production.

Mad Dog and Glory is one of the few recent movies where it helps to pay close attention. Some of the best moments come quietly and subtly, in a nuance of dialogue or a choice of timing. The movie is very funny, but it's not broad humor, it's humor born of personality quirks and the style of the performances.

The director of the film, a veteran stop-action master named Henry Selick, is the person who has made it all work. And his achievement is enormous.

No, it doesn't turn into another horror film or a murder-suicide. It simply shows how lives torn apart by financial emergencies can be revealed as being damaged all along.

You want a good horror film about a child from hell, you got one. Do not, under any circumstances, take children to see it. Take my word on this.

Craig is fascinating here as a criminal who is very smart, and finds that is not an advantage because while you might be able to figure out what another smart person is about to do, dumbos like the men he works for are likely to do anything.

The beauty in this film is in its directness. There are some obligatory scenes. But there are also some very original and touching ones. This is a movie that has its heart in the right place.

Not a simpleminded movie in which merely being ABLE to read lips saves the day. In this brilliant sequence, she reads his lips and that ALLOWS them to set into motion a risky chain of events based on the odds that the bad guys will respond predictably.

It somehow succeeds in taking those pop-culture brand names like Davy Crockett and Jim Bowie and giving them human form.

What I like about movies like this is the way they keep us involved until the end. There is no formula that we can project; “Thelma & Louise” was clearly heading for an act of self-destruction, but here we have no idea what to expect, except (inevitably) the birth of a child.

Derek Cianfrance, the film's writer and director, observes with great exactitude the birth and decay of a relationship. This film is alive in its details.

This is DeLillo's first produced screenplay, but he has written for the stage, and perhaps his portrait of Steven Schwimmer (Robert Downey Jr.), the detested critic, is drawn from life.

If the film is perhaps a little slow in its middle passages, maybe that is part of the idea, too, to give us a sense of the leaden passage of time, before the glory of the final redemption.

As eccentric as his subjects are, Burton plays things relatively straightforward. This is one of the most mainstream movies he’s ever done. It’s also one of the more entertaining movies of the year.

Setting entirely aside the accuracy of the film, the IRA still has him marked for death, and indeed there was an attempt on his life in Canada 10 years after he fled. He’s still out there somewhere.

What is fascinating about Ridicule is that so much depends on language, and so little is really said.

Crossroads borrows so freely and is a reminder of so many other movies that it's a little startling, at the end, to realize how effective the movie is and how original it manages to feel despite all the plunderings.

At once the most harrowing and, strangely, the most touching film I have seen about child abuse.

A rich, smart, funny, sometimes acidic portrayal of a couple who can be spectacular when they’re in tune — and toxic when they’re at each other’s throats.

It’s a memorably stark and authentic work that is at times so gut-wrenching it’s almost unbearable — but Park deftly weaves in moments of warmth and humor and hope as well. This is a special film.

As for myself, I think he made it all up and never killed anybody. Having been involved in a weekly television show myself, I know for a melancholy fact that there is just not enough time between tapings to fly off to Helsinki and kill for my government.