The less said about the twists and turns The Illusionist takes, the better. Suffice to say, Eisenheim's masterful deceptions do not stop when he exits the stage.

Like "Hope and Glory," Boorman's Queen and Country finds exhilarating comedy in places usually reserved for drama, violence, loss.

A perfectly lovely, if uninspired, movie that suffers from following on the trotters of "Babe," the one about the piglet advocate of barnyard brotherhood.

What's a fish-lover to do? For starters, know where your fish comes from. Don't consume endangered species. After watching this film, you may never want to eat fish again.

There are no belly laughs here, only rueful chortles about the confederacy of chuckleheads that calls itself the entertainment industry.

A weird fusion of blaxploitation and American indie, built on a template of old-style, follow-your-dream Hollywood drama. But it works - sometimes magnificently.

Actresses such as Maglietta are why movies were invented: You never get tired of her mercurial personality or of her infinitely compelling face.

Odd, and awkward in places, but its lyricism and power stay with you.

Damon, starring in his first full-fledged action pic, brings a determined bearing and believability to the proceedings.

Miracle really isn't about the game. It's about the game as metaphor for united we stand.

Popstar gets to satirize not just music, but also celebrity culture in a way that a movie such as Spinal Tap never could - because, well, the internet and 24-hours news cycle didn't exist in 1984.

Michelle Williams is a beautiful moper.

Directed with an easygoing grace by Campbell Scott, has the feel of a coming-of-age novel.

Iceland is beautiful. Really, really, really - really - beautiful. That pretty much sums up the new feature film Land Ho! That message is the film's alpha and omega. Its raison d'être. Its soul and its being.

A quiet, modest chamber piece more like "Moon" than "Star Wars."

Monaghan is stronger still. This is a performance that deserves to be noticed. She is crushingly good.

Where so many Holocaust documentaries remember the past and preach not to repeat it, Shanghai Ghetto remembers the past and teaches the relativity of experience.

A sly, richly modulated, emotionally engaging, and brutally honest film.

Client 9 speaks plenty of truth - about politics, power, human nature - even if you don't buy into the hit-job hypothesis.

It's impossible to imagine anyone, right-leaning or left, coming away from this hugely important documentary unshaken by its representation of the United States and its military establishment.

A shamelessly fun B-movie with A-movie effects.

It's a wise and endearing little film.

Holofcener writes with an ear for the rhythms and ridiculousness of real life, and her cast - to a man, and woman - embraces her words with subtlety and certitude. Friends With Money is gimmickless, and great.

As it is, most of X2's action is restricted to the Northeast Corridor, with a climactic face-off in the western Rockies, where, in typical blockbuster fashion, everything goes kablooey and ka-bam.

An impressive, not entirely successful exercise in minimalist filmmaking.

In its first half, Honeydripper trickles. In its second, it really flows.

Kafka-esque, Terry Gilliam-esque (Brazil), Charlie Kaufman-esque (remember Floor 71/2 in Being John Malkovich?), and David Lynch-ian, too, The Double plays like a nightmare that will leave you spooked, jittery, and confused. Well, that's how it plays for Simon, anyway. For everyone else, it should leave us simply amused.

If Kumiko, the Treasure Hunter takes its time, it's time worth taking. The cinematography is lovely: great swirls of midnight snow, frosted trees in glinting sun, the bustling modernity of Tokyo, a big library, subway stations exquisite in their orderliness.