A riveting Argentine thriller spiked with witty dialogue and poignant love stories.

What "Winged Migration" did for birds, Oceans does for all sorts of strange sea creatures in an ambitious, impressively filmed documentary.

The performances are excellent all around, with Scott mesmerizing as the emotionally volatile Laevsky and the gorgeous Glascott making vividly clear why her character drives all the surrounding men to distraction.

Very funny and a bit sentimental, it's naturalistic comedy of the highest order, with Evets and Henshaw standouts among a terrific cast.

That rare sequel that took its time -- 23 years -- so it not only advances a story but also has something new to say.

Woody, Buzz and playmates make a thoroughly engaging, emotionally satisfying return.

What makes "Ecstasy" essential viewing for any pop-music fan and any student of celebrity pathology is the interview itself. Spector, despite his immodest comparisons of himself to Bach, da Vinci and Galileo, is surprisingly entertaining company, not simply the mad recluse with crazy hair that was his shocking image during the trials.

Noir never has been this dark.

By keeping his (Daly) focus on the two remarkable youngsters without an ounce of sentimentality he succeeds in making something true and satisfying.

Taut, superbly executed and consistently engrossing, The Disappearance of Alice Creed marks an auspicious feature debut for writer-director J Blakeson.

"Dream" brings together so much history, sheer adventure and terrifying moments.

A satisfying comic gem.

Most impressively, it makes it understandable to those of us who don't know much at all about economics.

All of the key creative personnel contribute to the movie's nail-biting tension and unexpectedly moving finale. Jon Harris's editing is matchless, and Rahman's score effectively heightens the emotion. Ultimately, however, it is the talents of Boyle and Franco that sock this movie home.

The best blue collar action movie in who knows how long, this tense, narrowly focused thriller about a runaway freight train has a lean and pure simplicity to it that is satisfying in and of itself.

It is a tremendous achievement that shines a light on the way many countries use criminals to further their domestic and international goals. Politically informative, it also offers great drama with excitement and suspense, and no little tragedy.

A fiendishly entertaining Christmas yarn rooted in Northern European legend and lore, complete with a not-so-jolly old St. Nick informed more by the Brothers Grimm than Norman Rockwell.

Biutiful has a strong, linear narrative drive. Nevertheless, and most of all, it's a gorgeous, melancholy tone poem about love, fatherhood and guilt.

Most exceptional is the visual style, which makes even the best animated 3D look like a poor cousin.

Chen's direction is his most staid yet, but the riveting story speaks for itself.

The cinematography and editing are as superb as the film's feline stars are photogenic and heroic.

It all moves along briskly, with a degree of visual grace and a solid feel for 3D.

Brandishing an ambition it's likely no film, including this one, could entirely fulfill, The Tree of Life is nonetheless a singular work, an impressionistic metaphysical inquiry into mankind's place in the grand scheme of things that releases waves of insights amid its narrative imprecisions.

All the movie's playfulness rubs off on the actors. Scenes crackle with life. The chemistry among all the actors is terrific.

It's a long movie that feels short: It grabs you in early scenes, intense though low-key before all hell breaks loose, then keeps you riveted to its mostly male characters.

Leave it to the folks who brought us "Wallace & Gromit," "Chicken Run" and "Flushed Away" to bring a delightful blast of fresh air to the conventional Christmas genre. Aardman's Arthur Christmas is that and more - an endlessly amusing 3D, CG-animated Yuletide romp with lively innovation at every turn and a dream voice cast headed by James McAvoy, Hugh Laurie and Bill Nighy.

Darius Khondji's cinematography evokes to the hilt the gorgeously inviting Paris of so many people's imaginations (while conveniently ignoring the rest), and the film has the concision and snappy pace of Allen's best work.

Although the film runs more than two hours, the story is so compelling and the production so beautifully controlled that we are gripped by the characters' quest right up to the shocking end of the story.