There are so many balls in the air in the cheerfully violent Lock, Stock and Two Smoking Barrels, you'll want to wear a helmet for fear they'll all come crashing down.

Moll clearly has looked to Hitchcock and Clouzot for inspiration. There are sexual undercurrents between characters, psychological quirks and a murky veneer like the surface of the pool in "Diabolique."

An astonishingly intimate and painful coming-of-age story.

If the movie doesn't ultimately transport us to places The Wizard of Oz once took us, that may be partly because "The Sorcerer's Stone" is just the first chapter, with more magic waiting to be parceled out in the coming years.

With a grating symphonic score by ­Radiohead's Jonny Greenwood and the constant sense of danger following Plainview, "Blood" does not release its grip on the audience until its last, bizarrely crazy minutes.

It's a Master "Plan."

Hou intends to celebrate the classic 1956 children's film "The Red Balloon," and he has done a beautiful job. In fact, he may well have created a future classic of his own.

The movie elevated the basic gangster picture into what became known as the niche genre of poetic realism. And, aside from Garbo, never have key lights on a star's face caused so much swooning among fans.

Fans of anyone other than Sean Connery who has played James Bond may want to look away, because admirers of Ian Fleming's 007 novels are almost bound to agree that Daniel Craig is the best Bond since Sean.

Features an absurdist sensibility that ultimately melts your heart. It's certainly one of the stranger movies you'll see.

You can't look away, not only because the carnage is so masterfully photographed, but because the director sucks you into his bleak, poetic, even sensible vision of cosmic brutality. Not for the faint-hearted!

An immensely uplifting movie whose final, unforgettable frames come as close as anything to answering the big questions about why we bother in a dog-eat-dog world.

Everyone involved can claim credit, but it's Dinklage, in an understated, outstanding performance, who turns this unlikely tale into art that will strike a chord with any open-minded audience.

The picture, produced by Alexander Korda, under Lubitsch's direction, has some deliciously funny moments and every now and then a serious sequence is injected that startles the audience into an attitude of taut suspense. But it seems to me that the background of the Melchior Lenggel story is a bit too grim for joking.

The Trials of Henry Kissinger serves as both a prosecution brief on the above charges and an unauthorized biography.

If "The Godfather" movies were based on real gangsters and some of them were still around to talk about the good old days, they might be as fascinating as the characters in Billy Corben's documentary about the cocaine import business in 1970s Miami.

Even the hardest heart must melt in the face of The Story of the Weeping Camel.

Does a meticulous job of summarizing these notorious events, but it is the stories of Liuzzo's five children that gives it fresh emotional power.

For the initiated, the third time's a charm. For everyone else, it's just a scream.

Everything you might want in a road movie: an off-the-cuff sense of adventure, a winningly scruffy charm and a whip-smart sense of humor.

It's an amazing slice-of-life story that will make you want to rush home and hug the kids.

As inventive as "Being John Malkovich," as psychologically quirky as "Ghost World" and as honest as the day is long.

If you're in the mood for a horror movie, this ought to do you.

It turns out that puppets can tell us more about who we are as a nation than the most meticulous documentary. In Team America: World Police, the potty-mouthed, crazily brilliant musical from Trey Parker and Matt Stone, the result is hilarious, shocking and bound to offend nearly everyone.

Berry gives a riveting performance, but as a deeply decent man trapped in a hell of his own making, Del Toro gives the kind of career performance Berry gave in "Monster's Ball."

Ingrid Bergman makes a charming and beautiful refugee and Paul Henried gives a convincing performance in the role of the ardent anti-Nazi leader. Claude Rains gives one of his best performances as the police chief and Conrad Veidt is properly menacing as the Nazi officer. Sydney Greestreet is wonderful as the slick proprietor of the Blue Parrot and Rick’s rival in the cafe business.

Showing as much courage and talent behind the camera as he has while acting in front of it, Roth has crafted for his first film one of the most bluntly graphic and disturbing movies ever done on the subject.

Eastwood's sepia-toned combat scenes are as graphic, if not quite as jolting, as those in "Ryan." And without a Tom Hanks-size star in the cast, "Flags" is not likely to do "Ryan's" blockbuster business. But "Flags," a true story directed by someone with far more faith in the audience's ability to empathize, is the better movie.