The most impressive thing about the film's technical wizardry is, finally, how unimpressive it is. One doesn't leave the movie with a mind blown by visual bedazzlement but with a soul shattered by the profound sense of tragedy Linklater and company so beautifully put across.

Inland Empire is interchangably terrifying, maddening, shockingly hilarious and perversely exciting, and that's just to those who end up disliking it.

Ultimately, Wordplay is best enjoyed as an engaging look at a little-known subculture.

Time is more than reasonably diverting.

Haynes's picture may not be perfect -- hell, I'm not even sure that perfection is a state it even aspires to -- but it's bold and individualistic and accomplished. A reason to take heart for the state of current American moviemaking.

What’s missing here is the amnesiac hook that made "The Bourne Identity" such a sleeper hit.

The Proposition can be appreciated as a strong technical exercise, but it fails to resonate on any deeper level.

Director Shortland frames the story against the apt grey, off-season ski town, but her attempt to match it with deliberate pacing just makes the film feel chilly and too long, just like Heidi's depressing routine.

But after surveying pop and rock hybrids, Akin and Hacke go deeper. You will be very happy indeed to make the acquaintance of such Turkish music luminaries as Orhan Gencebay and Sezen Aksu, whose stories and personalities are as fascinating as their music.

As exciting and involving as it is brainy.

Think of how M. Night Shyamalan redefined the ghost story (The Sixth Sense), the superhero creation myth (Unbreakable), and the alien-invasion epic (Signs)--and you may get a sense of the genius behind this fascinating new horror film.

Made with obvious passion and humor (and a side of fries), Super Size Me is a mostly entertaining look at fast food, the billion-dollar businesses behind it, and its warped effect on our culture.

Exiled brings To back to lighter ground, and it’s one of his most assured, enjoyable pictures, refreshing fun that’s sure to satisfy anyone’s action jones.

A lightweight but sincere coming-of-age story.

As fate would have it, Rocket Science might prove to be the handiwork of a burgeoning cinematic genius.

Over the course of almost two and a half fascinating hours, they make a cogent, compelling, powerful argument, and they also make a terrific movie.

What the film lacks in freshness, it makes up for in great characters, fun vocal performances, and a script with some genuine emotional heft.

With his directorial debut, screenwriting stalwart Scott Frank concocts a compelling variation on a reliable film noir convention.

This is a movie where you WANT to stick around for the credits. The beauty is that you are totally set up for it, and you don't mind one bit. That final sequence ties the movie together in an awesome fashion.

Ramshackle one minute, pointlessly deliberate the next.

Delivers platinum performances, especially Sharon Warren as Ray's tough-lovin' mother, Kerry Washington as his lily-tempered wife, and Regina King as his spitfire mistress.

It’s hilarious, and genuinely cool.

The picture’s great, fast-moving fun for the most part, and Kilmer gives his most appealing, relaxed, and amusing performance since "Real Genius."

Scene for radiant scene, shot for nary a wasted shot, The New World is the most artfully sculpted film in American cinema this year.

Even in the service of silliness, no one plays tragic, desperate, and beautiful better than Keener, who together with Carell, makes this film both laugh out loud funny and humane.

Against very steep odds, writer-director Billy Ray and company have, in telling the real-life story of fictionalizing "New Republic" writer Stephen Glass and his downfall, produced the most entertaining inside-journalism movie since "All the President's Men."

Has masterfully polished mechanics, some of the most seamless CGI effects in recent memory, and the Wells veneration is admirable. However, the film takes far too many creative shortcuts, like bookended narration and aliens that make strategically humanlike mistakes, completely incongruous to their technological superiority.

If the resultant wreckage is a little underwhelming, and the film's coda useless and trite, the getting there is pretty absorbing.