I'm not even sure the movie makes sense at times, yet Campion's offbeat rhythms and eye for startling images always made me happy to be looking at the screen.

But the movie is so confused about where it wants to go, it suffers from the same identity crisis as its protagonist.

This is independent acting (and movie-making) at its best -- true, tight, anything but trite.

A gorgeous and enduring piece of work.

Full of sound and fury, signifying absolutely nothing, End of Days is the loudest and least of the year's end-of-the-world movies.

Doesn't have the purity, the sense of discovery, of the first Toy Story, but it's still an utter delight. Its images and gags keep replaying themselves in the mind well after the film is over.

Crass and depressing drama.

Puts the Bond film series (this one makes number 19)-- back on track by stressing the fundamentals and applying a bit of authentic drama for a change.

It is thrilling to look at, and that's more than one can say for the majority of pictures out there.

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

Although Mansfield Park is an enjoyable film, you can't help but wish that it were as brave, feisty and unconventional as it keeps telling us its heroine is.

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

Perhaps the most remarkable documentary project ever undertaken, and certainly the longest, is Michael Apted's Up series, which he began shooting for the BBC in 1962.

A surprisingly adult exploration of religion refracted, as always, through (Smith's) insistently pop-culture kaleidoscope.

Egoyan and Hoskins fans will definitely want to see this film. Others will feel their fingernails grow as they watch it.

This relationship might be strong enough to carry an observational novel, but the movie feels like it's missing something.

Stretched too thin, looks cheap, and can't quite go the distance.

It's all overblown: too much music, too much cutting, too much zooming, too much computerized special effects, too much clanky symbolism that never works.

Look to the cast as the best reason to see this film.

There isn't a moment of wonder or poetry in its very long 69 minutes.

The true star of this film, funny and often breathtakingly lovely, Zellweger carries virtually every scene in which she appears -- which aren't nearly as plentiful as one might like.

This kind of film, in its various manifestations recurring through the decades, gives us confidence that cinema can ultimately get to the heart of things.

Sometimes star power alone can keep you from walking out of a movie, and this is one of those times.

Every bit as reverent as "Schindler's List," and no less successful.

If the current flood of pre-millennial tension movies teaches us nothing else, it demonstrates how desperate we've all become to see whether we could make our peace in the time provided, if forced to by circumstances beyond our control.

It's great that this movie exists.

The evidence Herzog serves up is impossible to dismiss.

Hilarious and often moving.