The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

It features a great performance by Domingo but, in some ways the less showy contributions of the former real-life inmates represent the best Sing Sing has to offer. The movie is touching and uplifting in often unexpected ways.

The beating heart of Never Rarely Sometimes Always isn’t Autumn’s struggle with terminating her pregnancy; it’s the way the two girls discover companionship and the strength it offers.

Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.

There's nothing new or unique about the story, but it is presented in a manner that reinforces its immediacy and impact.

Easily the best non-Disney animated movie in recent memory, and it is good enough to rival such titles as “The Lion King” and “Aladdin.”

Isn't just fine family entertainment, it's superior family entertainment.

This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.

The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.

Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.

The film is notable for continuing to expand the corporation’s reach into different cultures while displaying a welcome maturation of animation beyond the conventional American standard into something that, although no less family-friendly, is thought-provoking and stimulating.

While much of the archival footage presented in The Last Days is new, the substance is familiar. These are the kinds of images that no Holocaust film can ignore, because they drive home the horror of what transpired five decades ago, half a world away.

Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide. Currently, the film is available in the United States only in the director's cut. Warner Brothers, however, has promised an exhaustive box set next year with multiple versions. It will be interesting to see whether those editions offer new insights or expand upon the film's already rich tapestry.

In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.

Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.

A movie that takes the hallmarks of a great career and elevates them to new heights. In terms of tone, visual beauty, and storytelling, The Wind Rises represents Miyazaki at the apex of his abilities.

The compelling reason to see it in a multiplex, however, isn’t so much the advantage of a larger screen as it is the absence of commercial breaks. The full impact of the movie relies on the gradual building of momentum and any kind of interruption could break the spell.

If there's anything disgusting or grotesque that The Cook, the Thief, His Wife, and Her Lover doesn't dabble in, I'm at a loss to figure out what it is. This film, a wildly exuberant, bitingly satirical examination of excess, bad taste, and great acting, is the kind of over-the-top experience that will have timid movie-goers running (not just walking) for the exits. Taboos? If director Peter Greenaway has any, you can't tell by this film.

Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.

Little Odessa is an extremely complex motion picture, layered with powerful themes and fascinating characters.

Randy Newman's songs are catchy and are effective within the movie's context, but I can't see any of them having "legs" beyond the screen the way tunes from the earlier animated musicals did.

It's a compelling tale that offers the opportunity for reflection and discussion about issues that have never really gone away and continue to lurk in the cultural background.

This is one of the year's most unabashed and powerful love stories, using flawless performances, intelligent dialogue, crisp camera work, and loaded glances to attain a level of eroticism and emotional connection that many similar films miss.

It is a mystery and a courtroom drama. Above all, however, it is a tale of love and sacrifice.

It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.

The result is a sharp, insightful, charming motion picture.