This historical epic about the "virgin queen" of England's early life moves with the crackling urgency of a contemporary political thriller.

Formally astute, visually arresting, and fearlessly horrifying.

In a season of mechanized spectacle and brain-dead comedies, Bulworth is a brave and bracing exception.

Will take you by surprise as a romantic, fast-paced, entertaining spectacle that deserves to earn back every penny spent to produce it.

Arresting, visually accomplished documentary.

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

The film ends with a surprisingly upbeat coda. But Startup.com leaves us with a sense that our heroes' idealism will be forever lost.

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

A bully good romp, and it thumbs its nose at the bloated blockbusters towering over it at the multiplexes by ending the moment it arrives at its raucous, richly deserved climax.

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.

A 25-minute third act is far too short to suffice, especially when the previous two hours are as astute and technically impressive as they are here.

As fascinating as the case is as history, however, Scottsboro: An American Tragedy is a TV show, not a movie.

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

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

Massively entertaining.

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

Plays like "The Honeymooners" might have if Ralph Kramden were from Pakistan, but with less laughs and more ignorant spite.

A profoundly moving human drama, a quasi love story about two lost men who form an unlikely friendship.

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.

John August's script is exciting, witty, original material, and this film's got the talent to match.

A disarming helping of Capra-esque corn served up by writer-director Rob Sitch.

This is such seductive entertainment that you might as well stop grousing and give in.

Shower isn't a bad movie -- just a baneful sign of things to come.

In terms of raw wit and fearless satire, the South Park kids put Mike Myers and Adam Sandler to shame.

It's such an accomplished, beguiling film in its details that you almost don't notice that the story is scattershot, arbitrary, and thin -- almost.

Moodysson's teen protagonists are more complex than both the high school stereotypes (the nerd, the jock, the beauty queen) in films like "American Pie" and the self-absorbed philosophers on "Dawson's Creek."

The cast is largely nonprofessional, and the story has the simplicity of myth.

Mild as satire and completely unconvincing as tragicomedy.