Irresistibly bleak appeal.

A deeply affecting allegory that explores the symbiotic relationship between genius and madness.

It's clear that Schumacher has risen from the self-imposed dreck of "Batman & Robin" and has returned to Hollywood to tell a good story.

One of year's most thought-provoking and soul-stirring films.

Confirms its place as one of the best first films in recent memory, and one of this year's very best films.

It's super!

Walt would be proud.

Its unique message about laughing in the face of evil clearly reveals that life is beautiful.

Roberts shines.

A movie that kids may want to see again and again, and adults will be happy to oblige.

What makes this film so powerful is that its unanswered questions force the audience to examine hate and its consequences making American History X one lesson you can't miss.

A must-see.

What's fascinating about Morris's riveting portrait is the notion that monsters can be born not just out of overwhelming evil, but pure egotism and stupidity -- much more mundane, yet still dangerous.

As lensed brillantly by 26-year-old Anderson, the movie is at once tasteful and raunchy.

A provocative success; wiping away the gore, Harron and Bale have found a mirror that forces us to look at ourselves and ask tough, disturbing questions -- which is ultimately what the best satire always does.

The talented Mr. Minghella is aping Alfred Hitchcock as effectively as Tom Ripley is doing Dickie Greenleaf.

Zemeckis is more interested here in getting us thinking (and feeling) than in telling us what to think.

Unfortunately, no awards committee is hip enough to praise this strange masterpiece.

I found myself roaring at the grotesque way some of the characters talk to their pets, pausing only briefly when I realized that I do precisely the same thing.

Nicholson is near-perfect as he slowly allows callous cruelty to give way to vulnerability in one of the most original, idiosynchratic roles of the year.

The only fault I found was a lengthy build to the story's political climax (there's a subplot about slavery), after which the film quickly seams up its unravelings and ends.

Willis puts his action-hero stereotype on the back burner to deliver one of his most intriguing roles since "12 Monkeys."

Like a lot of anime, it's overlong and gets way too metaphysical at the end, but ultimately, this is a Princess worth worshipping.

Sarandon and Portman have sizzling electricity that makes every funny, touching or sad moment between them seem even more fascinating than the last.

The power of the Fiennes/Scott Thomas affair burns through the clutter (imagine "Casablanca" meets "Map of the Human Heart") making The English Patient a theatrical must-see.

I didn't want it to end. I could have easily sat there for another two-and-a-half hours to find out what happens next.

A surreal and visually dazzling smorgasbord of pageantry, high camp, tragedy, spectacle, and gore.

One of this year's most dazzling entertainments, not to mention one of the best comic-book movies ever made.