One of the best pictures I've seen all year. Funny, touching, even inspiring at times.

(Thornton) does a remarkable job in all three categories, but what you're likely to remember most clearly is his performance.

The engine that drives Jerry Maguire is Cruise, giving the kind of performance that all but deconstructs his recent series of glib leading-man roles.

Runs on wit and creativity.

It simultaneously wows you with the stark beauty of its images, a beauty that leads to another, related kind of truth that is equally crucial. It's not to be missed.

Certainly one of his (Scorsese's) most profound works.

The film has smarts, but what really makes it fascinating is its huge heart...and the film soars because of that.

What makes the film so special is that while tickling your postmodern funnybone, it never forgets to make you care for its characters, in a welcome, and almost traditional way.

Levinson is at the top of his game with Liberty Heights, his instincts acutely cinematic, his purpose clear.

Irrespective of whether Pollock, as a movie, is any good -- and it is very, very good -- it's clear that Ed Harris was born to play the lead role.

Though issues of politics and philosophy are touched upon, this is a film about the people inside the uniforms -- a story of human beings under pressure, forced by circumstance to make choices both impulsive and, on occasion, heroic. It's also the new year's single most satisfying movie experience thus far.

The Punk Singer is a perfect storm. It is a love letter to Kathleen Hanna, to feminism, and to the fans, but it’s also just a damn good movie.

Clear-eyed and open-hearted, The Straight Story (which is based on reality) tells a simple tale, and it does so with a rare, blessed simplicity.

Eye-popping, exhilarating and occasionally a bit stomach-churning.

An exquisite trio.

It's a superb example of the genre of the self-expressive documentary.

Part of what’s so invigorating about A Touch of Sin is its refusal to betray the depth of its intellectual ambition, deferring when needed to generic convention and relishing the entertainment which follows.

Man, I just can't recommend this enough.

Director Barry Sonnenfeld captures Hollywood in sunny tones, with fluid camera moves providing maximum comic effect.

Show Me Love has the pulse of teen life down-pat, shaming its many sleek and glossy American counterparts at every turn.

An appalling masterpiece.

Funny and wise, lively and contemplative, intriguingly postmodern and powerfully moving, all at the same time. It's not to be missed.

There's a sense of ease and contentment to it that has never been so prominent in Allen's work before.

Hilarious, slightly sick, and super-edgy ...the acting of its two principals, Annette Bening and Kevin Spacey, is so sublime that it's worth seeing on that grounds alone.

Directors Katie Graham and Andrew Matthews create a great framework for the epic nemesis battle, but also know when to pull back to keep the movie grounded in reality.

There's a shrewd satiric method to LaBute's madness, and a payoff in comedic gold.

The Walt Disney World-set Escape From Tomorrow is both a great gimmick-dependent story and a remarkable piece of filmmaking. It is a radical, transgressive departure that exploits new technology in heretofore unseen ways.

Will test your powers of attention. The effort is worth every minute.