A superb, wise, and witty Taiwanese film about being single and what to do about it.

Russell has combined pathos, terror, and black comedy with a dollop of Hollywood feel-good patriotism to make one of the best studio efforts this year.

A uniquely personal, vibrant mosaic of the American dream, and like a dream, it evaporates beautifully before our eyes.

It's the sum of things not spoken, things too painful to express, that's the heart of this quietly moving drama.

The most poignant (if hard-hitting) depiction of childhood to show up this year.

Captures the emptiness of small-time lives as evocatively as Peter Bogdonavich's "Last Picture Show."

If you haven't seen his (Crudup's) work before, Jesus' Son could be the one that makes you his biggest disciple.

There are only a handful of great music documentaries ... but Temple's film deserves a place in the canon.

A hilarious and utterly faboo documentary...you'll be begging for more.

Byrne is a stand-up poet the way some actors are stand-up comics. His innate depth prompts The Usual Suspects to transcend its own cleverness--and this is the movie's smartest, least predictable surprise.

An exhilarating and at times operatic film.

Complaints? None, except perhaps a wish for more length, and a little more depth.

Tucci has crafted a poignant remembrance of a bygone era, and a touching examination of the responsibilities of creativity.

Dumont's movie has virtually nothing wrong with it -- aside from the fact that it drives people crazy. Take the leap, but expect no answers. Just like life, as they say.

An explosive experience...and you have to love the movie's rabid energy and lust.

Might be the most original film of the year.

Combining a seething physicality with enough weary nobility and tightly checked rage for a dozen wronged heroes, (Crowe) provides the movie's vital center of gravity without looming over his co-stars.

It's funny. Really funny.

The man (Apted) behind the excellent "7 Up" series has put a human face to science, making the seemingly abstruse both accessible and easily relatable.

This is certainly the best studio movie of the new year to date, and Douglas might even be remembered at next year's Oscars.

A smart, sometimes pissingly funny romantic comedy that is also oddly unmoving and predictable in spots.

The plot that propels them (Pitt, Roberts) along separate story lines is both unusually character-driven and a hoot.

Lacks scope and doesn't resonate grandly as a portrait of an American underbelly like Morris' earlier works do. But it still packs a wallop.

Has such perfect pitch in small matters that, as it builds, it proves no less capable in tackling bigger issues--and what begin as chuckles become deep belly laughs.

Topsy-Turvy is flawless, borne along by a savagely witty screenplay that Leigh directs like the gears of a clock.

Easily the best millennial movie, Don McKellar's Last Night is also the only one to use the idea of apocalyptic end-time as a vehicle to explore the absurdity of human desire.

A gritty, well-acted urban drama with lots of humanity.

Rises instantly above its genre merely by taking the time to develop its characters and scenario.