It's back in a handsome new black-and-white print, and it's still powerful stuff -- you can see why Pauline Kael wrote that it was "probably the only film that has ever made middle-class audiences believe in the necessity of bombing innocent people."

Skids into absurdity, but it never quite gets boring. Movies like this rarely are.

Cause for celebration. It's not only a cracking good film, but it is the first by Taiwanese master Hou Hsiao-hsien to gain a national (though limited) release.

To mildly respect Japanese Story is easy. To enjoy it would require an act of will.

An ungainly masterpiece, but Chaplin's ungainliness is something one can grow fond of.

Lacks what could kindly be called coherence.

Running mainly on adrenaline and a gimmick, it's different from other holiday movies in that it's not ambitious, earnest or overblown, and it obviously wasn't made with one eye on the Oscars.

Yet another 'Stallion'? Talk about beating a dead horse.

This is what makes the distinctly unromantic Cold Mountain' such a breath of fresh air. Its battles are hideous bloodbaths.

It's not just a feel-good holiday movie, though audiences, especially youngsters, will certainly walk out of it feeling good.

A dazzling retelling of the J.M. Barrie tale, offers accomplished acting, splendid visuals, and in the role of the boy who won't grow up ... an actual boy.

Theron is nearly unrecognizable in the role. She's also astonishingly good. Obscuring the movie star has liberated the actress.

Charming movie,

Masterful documentary.

The film has a sweetness that stops short of sentimentality.

There's a spark missing, and where it's missing is in Roberts' conscientious but all too reserved performance.

There's a dignity about it, and it's only later that we come to realize that this dignity is misplaced, born of a fatal reserve and a lack of complete investment.

Though an estimable success overall, The Return of the King has several scenes too many and too great a concentration on battles.

Devlin tells his story without bias but with shards of gallows humor.

An unforgettable film.

As depicted here, the political story becomes convoluted and dramatically inert.

Clocking in at 105 minutes, Love Don't Cost a Thing drags for stretches. The nicest thing about most standardized teen movies is their brevity. When we all know where it's going, it shouldn't take so long to get there.

People take comedy for granted, but to step back and think about Stuck on You is to be impressed by the invention and sheer exuberance of the picture, which isn't great but sure is enjoyable.

The moments between the characters are absolutely full. It's a pleasure to watch such consummate professionals.

Provocative.

A long-winded indulgence in tear-and-a-smile whimsy, elevated above the merely irritating and saccharine by compelling art direction.

Adapted from a French play but never seems stage- bound.

It has nothing going for it but a terrific story and an amazing performance by Judith Ivey, who plays an enigmatic Good Samaritan.