Kubrick's comic gem sparkles with enduring relevance.

It would be a masterpiece in any language.

This astonishingly gritty film maintains its strong niche between Roberto Rossellini's "Open City" and Paul Greengrass' "Bloody Sunday" as a pinnacle of war-torn neo-realist drama.

What about Ronny Yu's 1992 masterpiece "The Bride With White Hair," of which Crouching Tiger, Hidden Dragon is a decent facsimile?

For the most part, Sideways is a great movie--impeccably written, directed and acted--that takes its characters on a journey toward something new.

This film is a miracle, an extravaganza equal to its predecessors and in some ways more stunning. It is a profound testament to the extraordinary power of moving images and sound.

Secrets & Lies is all about wounds and our tendency to embrace placebos rather than the harder courses of treatment.

So enchanting it takes your breath away.

It was Melville's second-to-last feature, and it shows him in top form, with a more generous dose of humor than usual.

Spinal Tap is still on the right side of the fine line between stupid and clever.

It's not easy to pull off a good morality tale. That's why Moolaad, the new film from 81-year-old Senegalese writer-director Ousmane Sembene, feels like such an exceptional success. Its moral center is painfully clear, but so is its humanity.

He's (Hanson) never before generated the kind of heat inside a picture--and out of it--that he has with L.A. Confidential.

Coppola hasn't delivered a turkey--it's a cute little movie, if not as rich as her brother Roman's similarly themed "CQ"--but when work this potentially satisfying remains flatly obvious, it's almost worse than being flat-out bad.

An animated extravaganza of Gallic wit and soul that delivers more wild humanity than many of the year's live-action features. In a word: go.

Meandering but reasonably charming.

He (Spielberg) commemorates the soldiers in that vast Normandy cemetery in the most absolute and honorable way possible.

Amazingly, almost every note of every performance in Bloody Sunday rings true.

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 whole thing is absolutely beautiful to look at, even when it has a bad case of the cutes.

A masterful film about the magic of performance and the foibles of the artists behind it.

Smart people will relish its temerariousness, average people will smile awkwardly and comment that it's "kinda different," and dimly lit people may mistake it for the Elmo movie and drool quietly in the back rows. It's a movie for everyone.

Yes, yes--The Incredibles is beautiful to look at, but even more lovely beneath the computer-generated surfaces.

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

The film is a nightmare but an oddly comforting one.

May be the most wrenching, profound and perfectly made movie nobody wants to see.

Capturing the Friedmans does not end after its credits roll; audiences will try the case over and over again in their heads. Jarecki does not judge, but leaves only tragic clues for us to ponder.

It reminds one of "The Constant Gardener," another globetrotting thriller bereft of thrills that looks more important in retrospect than on the screen. Certainly, one man's trash is another man's masterpiece, and more power to the viewer who can stick with this deadpan travelogue and make it to the ending that actually satisfies.

Overlong, but with moments of greatness.