This may sound an eensy bit hyperbolic, but dig: Mayor of the Sunset Strip is the greatest rock-and-roll movie of all time.

Unless you're deeply familiar with Korean culture, you've truly never seen anything like it.

Gleefully blurs the line between species. Vive la révolution!

The makers of this film are clearly fans, and they've put more heart and genuine humor into this piece than Paramount has into the original franchise in years.

Bubble is a strong film with a gorgeously minimal script by Coleman Hough. Soderbergh has directed his actors to perfection, rendering them indistinguishable from their roles. And, though the story resorts to sensationalism for its conflict, the film is eloquent in its portrayal of silence, depression, repression, denial and the woes of the Midwestern white working class.

This is a brilliant and unpretentious movie to raise the bar for contemporary popular entertainment, designed for the upper-tier thinkers at the multiplex.

The result is a mood movie that sweeps you into its infatuation and holds you there.

This uncommonly clever, surprisingly poignant fairy tale packs a social wallop that we're not quite prepared for.

The first relevant film about rock and roll and the music industry, the first film that lets you in on the secret.

Bottom line: It's hilarious, vicious, offensive, thoroughly profane and a joy to watch, just like you'd expect. Be sure to sit through the end credits for a bonus song from Kim Jong-il to Alec Baldwin.

Impeccably acted by a fine ensemble cast, it's a sheer pleasure to behold.

The year's greatest adventure, and Jackson's limited but enthusiastic adaptation has made literature literal without killing its soul.

Even when Conspiracy Theory is jammed or rushed or overly jittery, Gibson's command--of Jerry's fractured psyche, his freak perceptions, and his ardor--gives the picture blue-eyed soul.

Pecker is a satire, but an incredibly good-natured one, which is not quite the contradiction in terms it might seem.

A gentle, frank, and often hysterical love story about two people destined, and occasionally doomed, to be together forever. Some of us should be as lucky, as blessed, as Harvey Pekar.

The movie resonates precisely because it serves as documentary only pretending to be fiction: It's set in a real place recovering from real pain, which Lee makes tangible.

The first great film of 2005.

The film is so much like the book, it might as well come with a bookmark to hold your place when you step outside to use the restroom.

An ethereal, creepy, almost breathtaking meditation on the life of a mind snapped in two.

Clooney has become a movie star, and the Coens have given him his very own "It Happened One Night." The man, and the movie, are downright bona fide.

One of Void's great strengths is that it doesn't say much about "voids." It simply shows us, in incredibly vivid detail, heart-stopping danger and the raw will to survive.

Provides a smart, insightful prologue to the career of the man who continues to inspire countless people around the world.

A fine entertainment value. It's beautifully made, drenched in deep, rich emerald, with sinuous tracking visuals driven forward by pleasantly African-flavored songs from Phil Collins.

It's charming. It's hilarious. It is perhaps the most beautifully crafted, lovingly rendered portrait of extreme geekitude ever to grace the screen. It's Napoleon Dynamite.

There is some meandering, episodic raggedness to the plotting, but Khan-Din's dialogue has a fine, naturalistic flow, and the young, debuting director O'Donnell, who's neither English nor Pakistani but Irish, skillfully keeps the material from showing too clearly its theatrical origins.

Finally, the man (Hanks) has delivered a moving, slightly unhappy, and ultimately hopeful story in which squishy love takes a backseat to the wondrous whirlwind of life. The season's most delightful surprise.

Fast-paced, riveting and affecting.

His (Pawlikowski) love story, which is by turns sensuous, charming, and uniquely moving.