Feels like it could go blow up at any time. It implodes instead, and the meltdown, though visible in one of the final sequences, is still corrosive.

The maturity of the Star Trek saga and its remarkable fan base have combined to produce a polished film that shines like a crown jewel in the Star Trek firmament.

MANNY & LO grows on you, largely because of the charm of its youngest cast member, Scarlett Johansson, who plays 11-years-old Amanda.

The shenanigans have been pared into 84 minutes of transgressive, potty-minded farce, that is often Waters at his most cheerful and most thematically focused.

A crowd pleaser that caters to our horror of totalitarianism, our love of personal freedom, our belief - justified or deluded - that knowledge is a powerful tool and that access to information is a God-given right.

The only film sequels in history that just keep getting better.

Through it all, Ozon supplies a sense of pathos that makes fun of its own soullessness, transforming a self-serious suicide note into an existential love letter.

In a way, The Eel is very much like Black Rain, and nearly as great. Both deal with an emotionally shattering aftermath, and both question mankind's ability to overcome its many weaknesses.

The dialogue is hip, natural and observational.

A document of vexing (and vexed) immediacy.

It's a gas, dude!

Tucci and Holm brilliant as magazine writer and artist.

A grand, old-fashioned movie of spies and Communist repression.

A knock-down, haywire ballad of the adrenalinization of love and despair.

Sunset Boulevard is noteworthy because of its fine sensitivity of things cinema. [24 Aug 1950, p.25]

Happy Together is Wong's most fully realized work. It is a pleasure to watch an interesting mind feel his way, and the result is something more than just a passing fancy.

This is the bluest film you'll ever see. The haunting color resounds throughout Empire like a sustained, melancholy chord...Empire is essential viewing for lovers of science fiction. [Special Edition]

A weird, wonderful and funny work that stands as a true original. As if that weren't enough, director and co-writer Anderson has given Bill Murray his best role in years.

Mike Leigh's great big, superbly performed homage to the creative process.

Despite the occasional uneven patch, the emotional punch of Slam leaves you wrung out as the credits unexpectedly start to roll. You want a happy ending, you realize the deck is stacked against it, but - thanks to the redemptive power of the spoken word - you have reason to hope.

Boys Don't Cry's intensity sneaks up on you like a snake.

Easily one of the best documentaries on any subject ever made. It is also one of the most cinematically influential.

Salles' solid narrative is only deceptively simple; there is a lot of dimension and depth to this gentle, sometimes painful portrait of two wanderers.

Handsome, well-acted, well-written and beautifully directed movie.

Segues from the merely quirky into the bizarrely unthinkable.

This movie has the jaunty good cheer of another great movie about hit men, "Prizzi's Honor." And that is high praise indeed.

More often than not the film casts an infectious, evocative spell.

Director Mark Pellington's spin on the transition from adolescence to manhood as viewed through the eyes of novelist and screenwriter Dan Wakefield makes "Going All the Way" something special.