What makes this movie special is the meticulous attention placed on each of its characters, employing them not in the traditional "melting pot" manner that is so common, but as part of a grand mosaic that actually seems to be worth sharing.

Hopkins' beautifully detailed, deeply felt acting remains a joy to watch...But an even greater pleasure, at least for my money, is Kidman's dark turn as Faunia Farley.

It's bright and spry, giggly and bouncy, but also cuddly with occasional touches of cruelty--a movie in which best friends, when let loose in the wild, suddenly realize one's a little higher on the food chain.

Taymor moves Titus completely out of time and into all time.

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

More than just a disappointment. It is also a spoiler, possibly weakening the impact of "Silence" for its fans.

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

Astonishing, haunting and lyrical on its own terms.

Mostly dumb, no matter how desperately and even valiantly it aims for "thinky."

The material turns out to be far soggier in the execution.

Here, jokes are just as likely to end not in punch lines, but in uncomfortable silence, impenetrable irony or stomach flips.

This horror-comedy about an aging Elvis in a haunted rest home proves not only is "Evil Dead's" Bruce Campbell a good actor, but possibly a great one.

Director Thomas Carter (no relation to Ken) relies on processed emotion and stock characters, and not even the inevitable Big Game excites us very much.

Assisted Living's overall mix doesn't quite jell, though there are worthwhile moments.

[The movie's subject] sounds like great movie material, but the film, except in flashes, doesn't do it justice.

Despite his natty wardrobe and calculated sangfroid, Penn doesn't summon up quite the right image.

We have heard this song before, know it by heart (sadly, as film still can't keep pace with real-life headlines about fake drug busts and a shady LAPD), and still filmmakers can't resist its rhythms.

It's a sweet, silly and not unintelligent romantic comedy: For a period farce, you could do worse.

Waters offers a worldview that's uniquely his own.

This first generation of Native American movie directors has already managed to make great strides: While prodding the collective conscience of the U.S. mainstream with their disturbing views of the reservation, they have also opened the door to a vibrant spirit world unknown to all but a few.

The Kingdom is essentially "C.S.I.: Riyadh," starring Jamie Foxx in yet another movie his Oscar statue will watch with shame.

Like "Fight Club," it's a brilliantly made film that will be despised for the right and wrong reasons; if you don't see the humor in it any time during the first half-hour, leave. If you stay, you've passed the test--sit back and enjoy one of the year's finest films.

It doesn't add up to much more than a trifle that might have been more impressive as a short.

The movie lacks the adult humor of such kid flicks as "Shrek" and "Lilo & Stitch," but the target audience at an advance screening was shrieking with joy throughout.

Tamahori pumps a tremendous amount of energy into his Bond movie, and it's an electrifying ride.

It's time to run, screaming.

Keaton's so good you almost forget how wonderful Downey is as Steven Schwimmer.

Sails by on cute dialogue, some funny visual gags, and two enormously likable leads.