Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,

T2 features bigger, bolder, more energetic action sequences than its predecessor.

It's a thinking person's thriller, where pyrotechnics give way to plot, character development supplants fight scenes, and adrenaline does not short-circuit intelligence.

Beloved is for those who want substance from a movie, and don't mind facing uncomfortable truths in the process.

Hit Man is smartly written, with Linklater and Powell deftly melding screwball comedy elements with rom-com beats against a Hitchcockian thriller backdrop. The small twists have big payoffs.

Although there is a political element to this movie, however, it works on a primal level – that of a person struggling to find not only a path forward but some kind of meaning in an act that lacks reason, compassion, or sense.

An engaging and powerful motion picture, every bit the equal of Merchant Ivory's best work, and certainly the most emotionally-wrenching tale they have brought to the screen.

Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither.

If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.

The sex is REALLY hot. Not hardcore pornographic (at least by my definition of the term) but close.

Despite being broadly classified as a “monster movie” and featuring sequences that are as wildly bizarre as any Monty Python skit, Okja has serious messages about consumerism, ecology, and food production.

It’s probably strange to call a movie about illness and death a “feel good experience,” but Wang has pitched the film perfectly in this regard.

Screenwriter Aaron Sorkin and director Danny Boyle aren’t interested in offering another re-enactment of the truth-is-stranger-than-fiction story. They have something more ambitious in mind. Their goal is to illustrate the tyranny of genius and how a “great mind” doesn’t always mean a “great person.”

As much as any other motion picture that employs the preparation and consumption of food as a key element, Mostly Martha provides the perfect blend of cinematic nourishment and gratification.

It's neither glamorous nor erotic and director Steve McQueen has taken an unflinching and non-judgmental view of sexual addiction in Shame.

Although The Trial of the Chicago 7 has a serious message, it finds room for moments of (dark) comedy and (gallows) humor.

It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.

That Sayles is able to say these things in the context of a compelling story with well-defined characters makes this one of the early fall triumphs of 2004.

These are two fascinating characters, and watching them thrust and parry proves to be as impossible to turn away from as observing a grotesque roadside accident.

The Outrun avoids pretentiousness and the emotional stakes are so high that it doesn’t threaten to become boring.

The action is genuinely exciting and, perhaps most importantly, the concept of “Artificial Intelligence” is given more than lip service. It is addressed in an intelligent, penetrating fashion rather than being thrown in as a plot point.

This is a slice of life with an imperfect beginning and conclusion, but what transpires between those two endpoints is strong enough to leave an impression on anyone with the patience to commit to a movie of such unhurried temperament.

Despite never previously having made a feature film, Stolevski’s sure-handed approach delivers a winner. He takes chances, doesn’t underestimate his audience, and tells a story worth telling.

Isn't just an expose of the porn industry -- it's a provocative and involving character study, as well.

It works effectively as a period piece and, because of Roeg's atypical style, it retains a freshness and grittiness that allows it to work for a new generation of film-goers in much the same way it worked for those who experienced it four decades ago.

A wonderful motion picture, even given the weaknesses of the source material.

O'Connor gives the film a dark, moody look, which is the best choice for so many roiling emotions. This is not a traditional stand-up-and-cheer fight movie; the undercurrents are too strong and deep.

American Splendor is deserving of accolades, not only because it tells an interesting story about a fascinating man, but because it does so with such freedom and freshness. I wish more of the comic book-inspired movies were like this.