Thanks to Spielberg's vivid storytelling and Hanks' matchless gift for bringing the common man to life, this is a relentlessly charming movie.

If, like Benigni, you were born after World War II, it reassures us that he hasn't forgotten the innate seriousness of his subject matter, and that despite its grimness, he still thinks life is beautiful.

Chris Rock gets to direct himself, and as a result is finally starring in a laugh-out-loud funny movie.

This would be 10 times the movie if it featured an actual debate between Moore and Bush. Nonetheless, the man makes a remarkably strong case, tastefully inserting himself into the Bush-baiting only when necessary--one such stroke of brilliance involves personally urging congressmen to send their own kids to Iraq.

One of the glories of the film is that Ramsay keeps us rigorously to Morvern's point of view without ever being explicit about what's going on in her head.

This valentine to Trekkiedom (produced by, who else, Paramount) doesn't go in very deep--probably doesn't intend to--but it's also not quite the promotional piece the studio may have envisioned.

A sweet-natured, immensely likable family film.

Plot matters more here than spectacle; the film's real climax involves no demolition, but rather two characters in a room quietly discussing devastating events in their past.

A beautiful but depressing film.

Northfork may be doomed, but the Polish brothers and cinematographer M. David Mullen (who worked with the brothers on their previous features, "Twin Falls, Idaho" and "Jackpot") make the place feel like heaven on earth.

In the Harry Potter film series thus far, The Sorcerer's Stone remains the strongest, perhaps because the first look at any rich new world is almost always going to be more groundbreaking than its sequels. But Prisoner of Azkaban is a worthy and stylistically different follow-up, where Chamber of Secrets often felt like an unimaginative retread.

This sweet little movie is a mild comedy, a much calmer cousin to "Sister Act," with men in robes rather than women in habits.

The star's the thing, the only thing, and he's brilliant at playing a thinly veiled version of himself.

Takes roughly a third of its length to really get going, but, once it does, it's a devilishly clever, engaging piece of work that milks every cent of value from its tiny budget.

Eminently watchable, The Best of Youth nonetheless lacks the devastating emotional gut punch of its obvious inspiration, Visconti's "Rocco and His Brothers."

My Kid Could Paint That's about art—and it IS art, among the best documentaries ever made about that elusive process of manufacturing something out of nothing. But it's also a must-see for every single parent who believes their children are special, when all they want to be is your children.

The most life-affirming film about death to come along in ages.

Consider it an athletic contest of the mind--ESPN does, as the sports network regularly televises the finals.

The entire film takes its cue from Cage's spritzes and jags; it's a delirious performance in a delirious landscape.

Hilarious--a terrific updating of ancient farce conventions for the '90s.

A flawed film worth seeing.

Hilary Birmingham -- makes an impressive feature directorial debut with this rural drama. She gets first-rate performances.

Astonishing if imperfect nature documentary.

That's possibly Peirce's best trick of all, telling a true story so well that you can't remember how it ends. And when you remember, you hope that you were wrong.

A fresh, intimate, gloriously unpolished performance film that measures up to the classics of the genre.

Whatever its flaws -- and it has some lulus -- it's a textbook model for how to structure action of this kind.

Touching, frequently hilarious.

Once in a while a film comes along that is as sound, smart, sweet and significant as can be, and Whale Rider is such a film.