A beautifully acted, graceful, and intelligent film that usefully dramatizes the gulf between Fortress Bush and the relativist politics of Western Europe.

Tremendously funny and entertaining.

In this, Lee's most ambitious and successful work yet, his celebrated gift for psychological shading and complexity is on proud display.

A perfect marriage of author and director.

A beautiful film from Iran explores beauty both physical and spiritual.

The movie felt fresh and resonant in spite of its overall familiarity.

Though it's become almost redundant to say so, major kudos go to Leigh for actually casting people who look working-class; you'd be hard-pressed to get an American studio to go along with that, even though Leigh alumni often become famous.

Overall, Dillon has scored at the helm. Wholly engrossing his film is not, but a valiant first feature it is.

Christopher Guest only wishes he could nail a parody/homage as smart and deadpan as this, but while his ensemble improvisation movies are increasingly full of mighty wind, Winterbottom's is consistently smart and silly without becoming caricature.

Brian's brilliant, saved itself by benefactor George Harrison, who ponied up the budget of 2 million pounds...simply because he loved the script when industry bigwigs turned characteristically chicken. Its overall irreverence proves a lasting balm for the ages. Thank you, Pythons, for setting such a high and enduring standard.

This is provocative stuff--and not just for its searing indictment of Brazilian society.

It just feels like the real thing, which is a trick few writers can muster and even fewer directors can master.

Philosophy imbues this inescapably self-reflexive movie with a rare compassion.

It's more like the déjà vu machine. But that does not negate this movie's copious pleasures, chief among them its prudent decision to act like it's never supposed to be more than good time, a thrilling test-drive in a car you love but can't afford to actually buy.

The overall effect is scintillating and very engaging -- literally history in the making.

Rodriguez clearly assumes Sin City to be his "Pulp Fiction," his rambling portmanteau--a blending of disparate tales to form a complete, overwhelming epic.

If you're shopping for neatly tied bundles of plot and the rigid arcs of "character development" common to mainstream movies, look elsewhere. Whether he's playing on the road or at home, Jarmusch always throws a lot of off-speed stuff, and that's his glory.

Tough as it is, L'Enfant nudges both its protagonist and its audience toward unlikely affection. Tough as it is, L'Enfant commands our care by practicing what it preaches. No wonder the brothers call it a love story.

This vivid exploration of the human animal creates a romantic alchemy that's raw, unsettling, and touching.

The inspiration appears to be equal parts "Looney Tunes" and Capcom video games like "Street Fighter II." All the energy that was missing from the recent "Mask" sequel is here, and then some.

For all of its turgid self-importance, its anthropocentric theater of classical music and sound effects, Deep Blue is a gorgeous film with scene after scene of incredible footage.

Holes is a nicely made movie for kids, as entertaining as it is thought-provoking and--thanks to director Davis--a bit harder-edged than the usual Disney fare.

The charismatic Jamal has the spirit of a young Antoine Doinel, and Winterbottom shoots him to evoke the memory of Truffaut's young hero.

Not everything jells, but Click is funnier and more elaborately clever than anything Sandler's done in years.

This is not pleasant stuff, but it's important, and thoroughly heart-wrenching.

If Junge's first-hand recollections aren't always visually stimulating, they're still more illuminating than most cinematic re-creations of the era.

It's not hard to see why actors love working with Penn, even in the smallest roles; he lets them speak monologues even when they're saying nothing at all.

Thanks to the performances and McCarthy's understated script and direction, the film walked off with both the Audience Award at the Sundance Film Festival and the Waldo Salt Screenwriting Award.