Sometimes the cinema is just heavenly, and this is one of those times.

The audience responds to Out of Sight the way Jack and Karen do to each other. Instantly we like the way it looks, moves, and sounds. Ultimately we like how it makes us feel.

Scorsese's rockudrama withstands big-screen scrutiny some 24 years after its initial release.

Lawrence constructs a vivid pastiche of human foibles, nicely flavored with a touch of suspense and some well-timed jolts of humor. In the end it's a terrifically entertaining film, if not quite so profound as the makers might wish.

Tanovic describes it as "a very serious film with a sense of humor." It is an apt description for a very remarkable film, one of the best of the year.

An inspiring effort, lavishly lensed and featuring a spicy (if occasionally synthy) score from A.R. Rahman. Best of all, it's also something of a musical, as the characters are not above breaking into song and dance to serve their emotions.

Shrek isn't clever or smart. It just wants you to think it is, through wink after wink after wink.

A spare film, with little dialogue but a lot to say.

On one level, Together is a countercultural soap opera, though played more as bittersweet comedy than as drama.

It's moving; but it's also endlessly engaging, uproariously funny at moments, informative, and eventually touching in ways one might not have expected.

A film of tremendous complexity and depth, a galvanic force that sends the mind reeling.

The film is a masterpiece of nuance and characterization, marred only by an inexplicable, utterly distracting blunder at the very end.

This is a dark, often funny walk through Ingmar Bergman turf.

Audiard keeps things shaky, grim, claustrophobic, doomed. His film has the feel of documentary, as he follows Clara through the daily grind that pulverizes her. We're in her head, literally.

A remarkable movie with an unsatisfying ending, which is just the point.

Money Can't Buy You Happiness. It hasn't been this vividly re-examined in decades, and we're the richer for it.

Weaving many interconnected plot lines and more than a dozen lives together, this gifted writer-director has fashioned a bleak, brilliant comedy about loneliness, lovelessness, and alienation--a film that constantly upends our assumptions about what is heartbreaking, what is hilarious, and what is both.

Pustules, puberty and pregnancy...seven stories tall! Mostly grand but occasionally grody

Infectious, intoxicating joy is the emotion conveyed in every frame of this ravishing, exuberant documentary.

Powerful, sensuous and thematically hokey transsexual adventure.

Despite its lively tone and brisk editing, the project's sad epilogue -- shot two years later -- suggests that Abraham and Mohammed will be duking it out on the world's dime for some time to come.

But in a calculated move that pays off handsomely, the picture's remarkable power is reserved for the end, when the intertwining themes coalesce in an extraordinarily satisfying and stirring way.

Here it is -- another double cross for which you will, and should, hand over your few grubby bucks.

One of the few American independent films right now that actually deserves its high praise.

It's Mamet without the rich slanginess and heat of which he's capable at his best.

Can barely move during its final half hour, which is a shame, because until then it's a frenetic, engaging ride -- a huge grin, not unlike the one Tom Cruise now hides behind his grownup's braces.

A beautiful and timeless achievement, Conrad Rooks' 1972 adaptation of Herman Hesse's appropriation of East Indian mythology still entrances.

Shot in stylish black and white, with a memorably low-key performance from Duchesne, Bob le Flambeur is definitely worth checking out on the big screen in a fresh print.