A new version of the greatest psychological mystery of all: love.

It's Zahn's heartbreaking performance that drives Riding in Cars with Boys.

Like being jacked directly into Linklater's alpha waves, and the experience is bracingly new to movies.

High drama this ain't. And yet, anyone looking for a hearty banquet of gymnastic, kung-fu tomfoolery won't walk away hungry.

Amid the chaos of this marvelous, uncategorizable film squirms one of the year's best performances.

Mesmerizing entertainment, but it's also a cop-out.

The casting is sublime.

Basically one elaborate joke about male modeling and all the vanity, emasculation, and fatuousness that attend it. Fortunately, it's a good joke.

A funny, frenetic, and often quite touching microcosm of the Big Apple life itself, essayed by a pitch-perfect cast and boasting authentic urban flavors.

Liam is mostly an emotionally devastating chronicle of the disintegration of a family. The entire cast is superb, but Frears has cast two screen naturals in the lead roles.

The politicizing is intense, but the actual game footage is even more engrossing; Carlson uses both digital video and 16mm film to put us squarely in the midst of the gridiron brouhaha.

Not all of the jokes hit, but enough of them do that anyone who's ever filed, collated, or played Mixmaster DJ with the transcribing machine will find cathartic giggles in this breakout debut.

Together is unabashedly about people who need people. The film's satiric skewering of '70s liberalism works because it feels emotionally authentic.

The bubble-kid moms can whine all they want, but Bubble Boy is a liberated movie --liberated from tastefulness, of course, but also from logic, suffering, consequence, and temperance.

Allen's good with the material, but Hunt sparkles, repeatedly razoring her diminutive antagonist to shreds.

An outrageously silly movie that makes me laugh.

While both leads are appealing enough, it's the stuff on the sidelines that keeps All Over the Guy entertaining.

May not quite be more than the sum of its creepy parts, but as a reality-is-fear launch into workaday darkness, it clearly points toward the horror genre's best destiny.

Some moviegoers are bound to take issue with the trick, "Sixth Sense"-style ending (or cynically see it coming), but The Others is mostly spooky fun, and a strong calling card for Amenabar.

Goran Visnjic is such a sensitive, non-menacing gentleman that any woman would want him as her own personal blackmailer.

Too poignant and funny to be dismissed.

Oy, it's such a pleasure that you'll be begging for Rush Hour 3.

In spirit, 101 Reykjavík is so Almodóvar that it could melt the polar icecap.

Stomps the summer movie competition with heart and humor.

The results are both savagely funny and poignant for anyone who's ever had a friendship that felt like their only connection to the outside world.

Never takes off, and much of the time Pool seems lost herself, resorting to clichés, redundancy, and dead-end allegory.

A teenage movie that trusts its audience -- it sounds crazy, but it's actually quite beautiful.

Actually, it's a childhood "A Clockwork Orange," a reverent realization of the late Stanley Kubrick's final obsession.