One of the compulsively watchable films this year, second only to "Memento." It's a must-see, except for those with a sensitivity to on-screen mayhem.

A thoughtful, well-acted and well-observed (though bleak) look at what some people have to put up with to get through life.

This sensuous, exotic film is more like an issue of "National Geographic" come to life, rich with cultural detail and insight.

A thrilling tale smartly told, with an abundance of wit and invention. It's a classic.

Not just another lawyer movie, but rather one of the most striking dramas of the year.

By the time Sprecher's skeins, set forth in 13 related episodes, come together, we've got as clear a view of the big picture as we got assembling the elements of "Nashville," "Lantana" or "Magnolia".

Beautifully made, deeply upsetting drama.

Beautifully observed, miraculously unsentimental comedy-drama.

The film is a whirlwind blur, a kinetic thrill ride through the industrial backwater that was one of punk and post-punk's most fertile Promised Lands: Manchester.

An authentic and thrilling glimpse into Inuit culture and tradition.

De Sica's 1952 neorealist masterpiece; it's a stark snapshot in which all is revealed about the "daily life of mankind," as the director once offered by way of description.

Spectacular entertainment.

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

Robin Williams just may have found the greatest role of his career. Playing beautifully both to fans and haters, Williams' Sy is a character you don't know whether to hug or go vigilante on his ass, a balance Bob Hoskins couldn't quite capture in "Felicia's Journey."

Jovovich isn't at her best, but that's mainly because her character is required to be in shock most of the movie, except when she remembers that she's a Charlie's Angel, or happily sheds clothing to maintain that R-rating. Frankly, most of us can live with that.

Easily one of the finest and most sophisticated films of the year.

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

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.

Charged by Rideau's amazingly sexy performance as the most forthright gay character put on screen to date, this is a fine piece of filmmaking.

The miracle here is not so much that Pray captures the DJs in peak form, but that he comprehensively captures SO MANY of them.

Beautiful to watch and universal in theme by any name.

The cast is uniformly excellent; all involved seem keyed into the subtextual subtleties of a story that, while simple on the surface, is exceedingly rich underneath.

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.

The pacing is slow, but the film is entrancing and earns a permanent place in the viewer's mind.

These pandas, they're truly wondrous on the big screen, as no digital effect could ever recreate. Director Robert M. Young delivers a spry, richly detailed adventure for general audiences, truly a feat deserving acclaim.

Once the action kicks in -- starting with an extraordinary balletic fight in the rain featuring the two masters and a flying wooden beam -- you can't take your eyes off the screen.

This terrific movie manages to invest kitchen-sink realism with the soul of a fairy tale.

The result is a lovely piece of writing brought to life by a terrific cast, a vivid sense of place and, not incidentally, some perfectly chosen pop tunes by such as Bree Sharp, Leona Naess, Smog and Tin Star. As for Lauren Ambrose, her big-screen debut is a revelation.