River's Edge is not a film I will forget very soon. Its portrait of these adolescents is an exercise in despair.

A terrific thriller with action sequences that function as a kind of action poetry.

There’s a lot to admire in Cold in July, but its chief virtue is unpredictability. Most movies these days sleepwalk through their formulaic paces, but you’ll never guess where this one is going based on the way it begins.

A beautiful and haunting film that tells this story, and then tells another subterranean story about the seasons of a marriage.

Why did it take me so long to see what was right there in front of my face -- that The Company is the closest that Robert Altman has come to making an autobiographical film?

The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special.

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.

Mask is a wonderful movie, a story of high spirits and hope and courage.

It’s impossible not to think of military training camp staples such as “Full Metal Jacket” and “An Officer and a Gentlemen” when experiencing writer-director Elegance Bratton’s semi-autobiographical The Inspection. While Bratton’s film isn’t in the same league as those classics, it’s a strong and memorable if predictable boot-camp journey that features many of the same elements of the first half of “Jacket” and the entirety of “Gentleman” — most notably in that all three films feature an alpha male drill instructor who will either defeat his recruits and send them home, or turn them into lean mean fighting machines.

It leaves you wondering, how was it that so many people liked this man who does not seem to have liked himself?

Kiss Kiss, Bang Bang contains a lot of comedy and invention, but doesn't much benefit from its clever style. The characters and plot are so promising that maybe Black should have backed off and told the story deadpan, instead of mugging so shamelessly for laughs.

The film is so well made and acted, because it captures its period so meticulously.

The movie works. It is food at last for we who hunger for a screwball comedy utterly lacking in redeeming social importance.

The film has extraordinary beauty. Indeed, the visuals by cinematographer Gokhan Tiryaki are so awesome that the characters almost seem belittled, which may be Ceylan's purpose.

A powerful and affecting film, so well played by Goldberg and Spacek that we understand not just the politics of the time but the emotions as well.

One of those comedies where everything works.

So, if we’re in the mood for an R-rated, sometimes cartoonishly violent, occasionally salacious comedy where you know some jokes will score and others will land with a thud and we’ll just move on to the next scene, here’s your ticket.

Writer-director Defa has delivered a small and quietly compelling low-key gem filled with offbeat characters who are perfectly normal — which means they’re kind of odd.

Pocahontas was given the gift of sensing the whole picture, and that is what Malick founds his film on, not tawdry stories of love and adventure. He is a visionary, and this story requires one.

Surprisingly insightful, as buddy comedies go, and it has a good heart and a lovable hero.

A big budget historical drama that carries Denmark's hopes into the Oscar season. It provides still more exposure for the rising Danish star Mads Mikkelsen, the latest male sex symbol of the art house crowd.

A treasure of a movie because it knows so much about baseball and so little about love.

Mark Ruffalo is a master at playing a certain type of earnest character who often wears a quizzical expression — not because he’s slow on the uptake, but because he’s the smartest person in the room and he has questions no one else has even thought to ask.

Doesn't have the theatrical subtext or, let it be said, the genius of Richard Pryor.

Here is the most passionate and tender love story in many years, so touching because it is not about a story, not about stars, not about a plot, not about sex, not about nudity, but about LOVE itself.

The movie is smart about journalism because it is smart about offices; the typical newsroom is open space filled with desks, and journalists are actors on this stage; to see a good writer on deadline with a big story is to watch not simply work but performance.

A big, clunky movie containing some sensational sights but lacking the zest and joyous energy we expect from Steven Spielberg.

Not as taut as it could have been, but I prefer its emotional perception to the pumped-up sports cliches I was sort of expecting.