Whitmore's Brooks is a brilliantly-realized character, and the scenes with him attempting to cope with life outside of Shawshank represents one of the film's most moving -- and effective -- sequences.

Living offers restrained optimism leavened with enough cynicism to win over those who might be less enamored of something more artificial. It’s one of the year’s best films.

This is the kind of charming motion picture that can be viewed repeatedly without ever wearing out its welcome. With several triumphant musical numbers, an original villain, a smart and witty script, a cute romance, and a new, upbeat ending, this Little Shop of Horrors offers countless delights during its 94-minute running time.

A delightfully dark comedy that, despite a cynical bent, offers viewers a good time.

A compelling, thought-provoking, and unsettling drama.

One of the best thrillers I have seen this year: tight, taut, and unpredictable.

The richness of its tapestry, densely woven from human emotions and character interaction, ensure it will never lose that relevance.

Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.

Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.

The Sting represents one of the most popular, widely-loved films to win Best Picture in the last half-century and an example of grand entertainment.

The move is a blast.

It’s a cliché to remark that “they don’t make them like they used to” but, in the case of Marty, it’s true.

With its carefully-modulated combination of light comedy and drama, the film casts a gentle spell.

Everything (not just the flesh) is vibrant with life.

Narratively, not a lot happens during the opening 60-70 minutes, but Cuaron is marinating us so that later events have an uncommonly strong impact.

The film contains some of the most exhilarating action sequences ever to reach the screen, a touching love story, and a nice subplot that has agent 007 crossing (and even threatening to resign from) Her Majesty's Secret Service. The problem is with Bond himself. Following Sean Connery's departure after You Only Live Twice, the film makers had to come up with a replacement. The man they chose, a model named George Lazenby, is boring, and his ineffectualness lowers the picture's quality.

Unlike in many character studies, the plot is more than just a simple framework. It is complex and unpredictable, and, as a result, provides the perfect means to better get to know the characters and understand the shifting nature of their relationship.

Ultimately an uplifting movie because it is about triumph.

As always, the voice casting is perfect. Throw in a moral, and some nice touches of technical accuracy (that fish keepers will appreciate), and the movie represents the best family film to-date of 2003.

This is as good as spectacle moviemaking gets: old-fashioned in intention but fully modern in execution. It may not stand quite as high as its two predecessors, but the fall-off is neither extreme nor precipitous.

For those who have the patience to become absorbed in this kind of drama, Vera Drake offers a stunningly real character portrait whose image will linger long after the movie has faded.

V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.

This is unlike any other film I have seen... it's a great romance. It's willingness to flout conventions and eschew formulas is just one of many things to celebrate about this charmingly eccentric movie.

What the film does expertly is to weave together music, likable protagonists, thoroughly nasty villains, and a fun plot into a cohesive whole, with a result that is nothing short of magical.

The Nightmare Before Christmas has something to offer just about everyone. For the kids, it's a fantasy celebrating two holidays. For the adults, it's an opportunity to experience some light entertainment while marvelling at how adept Hollywood has become at these techniques. There are songs (even if they aren't nearly as noteworthy as they should be), laughs, and a little romance. In short, The Nightmare Before Christmas does what it intends to: entertain.

The narrative is presented in a straightforward manner; Soderbergh doesn't employ any unusual chronologies. His style is frank, not quirky, and lends itself to a number of powerful images.

he Celebration rips apart the placid facade of a familiar subject, leaving its audience stunned. As difficult as the film can at times be, the patient viewer will be rewarded.

Fincher eschews quick cuts in favor of long, leisurely ones. He knows what he's doing, and the proof is in the result. The suspense in Panic Room never ebbs, and that makes for a thoroughly entertaining -- if somewhat exhausting -- 108 minutes.