Astonishing if imperfect nature documentary.

The sappy trappings that director Raymond De Felitta piles onto the burgeoning romance story line kills any spark that remains, despite the best efforts of the cast to keep it real.

Gilroy has brilliantly played to his strengths in Spring Forward. With a story that has no room for big, obviously "cinematic" effects, he concentrates on simple staging, unobtrusive (though often beautifully evocative) visuals, and sheer performance. It's a decision that pays off.

Emotionally gripping from start to finish, the movie presents an electrifying and unforgettable look at life in a place that God has all but forgotten.

Cheadle, always a fine actor, is outstanding here--an almost willfully naive yet uncommonly decent man who sees civilization crashing and burning around him yet who, almost against his own better judgment, refuses to give in to it.

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

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.

If only Condon kept up the Q&A format, because when he ditches it the movie turns flat and familiar.

Deftly delivered and free of gratuitous gloss, yet enormously rich in its unassuming manner.

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.

This engaging film proves a total pleasure, suitable for moviegoers who like their films a bit old-fashioned but still mainstream.

If his first two films were about emotional mutes, then Before Sunrise is the tale of two kids who won't shut the hell up.

The original retains its dark tone and deadly serious anti-war message. For today's moviegoing audiences, this may not be your daddy's Godzilla movie, but chances are your granddaddy could teach you a thing or two about the context.

It puts us in the shoes of men and women for whom the war is not something distant and intangible but a bloodbath in their own back yard, which makes them the very definition of embedded journalists.

Fascinating and engrossing on every conceivable level

This is anything but pleasant stuff, but it's a must-see for anyone interested in men and women, fathers and sons, and the kind of murder mystery in which the real casualty is the human soul.

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

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

Davies has nailed Wharton's bitter satire of the flights and follies of New York society in the Gilded Age, and leading lady Gillian Anderson shows dazzling range in her portrayal of the book's doomed heroine.

While Mononoke is often gorgeous to look at and has a far more sophisticated story than most Japanese animated features, it still feels overlong and dramatically unengaging.

A solid, well-crafted drama, with a tight script, sharp editing, and strong performances by the leads. Beware, however: This is no comedy.

Like all good concert films, it's the next best thing to being there.

Lasseter and Stanton and the rest of the animators and gagsmiths use the computer with staggering imaginative freedom.

A superb and piercing documentary.

It's best appraised as a strong ensemble piece, a darkly dreamy slab of social commentary and definitely one of the year's best films.

Cinema has done a fine job of documenting the anti-apartheid movement, even if too often the spotlight shone brightest on the white man through whom the black man's story was being told.

Anderson and Sandler were meant for each other, and their romance is, unbelievably, our reward.

What Malick has fashioned here is less a conventional narrative than an impressionistic mosaic of our common, yet varied experience of life and death, as focused and clarified through the relentless lens of war.