One of the funniest films of the year... enough laugh-out-loud moments.

Solidly entertaining if not remarkably innovative.

Haunting character study filled with fascinating personalities, robust images, and eccentric behaviors that will please art-house fans.

Fans of the greatest working film director will be pleased.

Funny, profane and surprisingly painful at times.

Damon benefits greatly from a director like Gus Van Sant ("My Own Private Idaho") who understands quiet, funny moments, intricate relationships and beautiful young actors.

Luckily, Penn's attentive directing and Nicholson's layered acting render The Pledge's occasionally questionable story permutations secondary to enjoying this emotionally powerful film of rare and grave subtlety.

Hilarious.

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.

What makes up for the, at times, slow-moving theatrics is the physical beauty of Pleasantville.

Chilling and technically proficient and, also, fairly hollow.

In the end, the performances and the basic strength of the premise make Shadow of the Vampire a relatively diverting ninety minutes. But there is the inescapable feeling that it is a shadow of the great film it might have been.

Though Twin Falls Idaho fascinatingly uncovers the complexities of conjoined twins, it is more about any sibling relationship where one feels simultaneously burdened and uplifted by the other.

It seems as if it was made by people who have never actually watched an episode of Star Trek. So all the old poke-fun-at-Trekkies cliches are here.

Allen's deadpan humor shines through every crevice of the film, keeping the pacing sharp, the dialogue snappy, and the situations feeling real.

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

Pretty hysterical.

Watching Wright portray a black man who actually fights alongside the very men who wish to keep him enslaved proves to be an interesting philosophical dichotomy.

It's a comedic caper with a slap-your-head-in-kookiness that ends up making Allen, at this age, seem like an old man desperately still trying to ham it up at the dinner table.

Worth watching.

It's a mind-blowing game, and all that nonsense about this being an erotic thriller was merely part of Kubrick's game.

As a whole, The Eyes of Tammy Faye funnily and lively serves to show that sometimes the best movie characters are real ones and sometimes the best Christians are ones who look like crack-whores.

Observations on the modern office space are dead-on, and I dare you not to laugh out loud at a few of the sophomoric jokes!

If you're looking for Julia Roberts (circa "Pretty Woman") playing, well, herself, and Hugh Grant (circa "Four Weddings and A Funeral") playing, well, himself, then you're in luck.

An ultra-violent cinematic rendering which will appeal to those moviegoers who like their action dramas laced with nice touches of meta-physicality and left-of-center humor.

What elevates Gladiator to the near-greatness it occasionally achieves is the performance of Russell Crowe as Maximus.

Greenwood gives a nuanced performance that may be the film's best work, but at times his surface dissimilarities to JFK are jarring.

All that suspense falls dead at its climax, which proves to be a bore. The absence of a surprise ending and the lackluster spooks make this one worth skipping. I'm going back to see "The Sixth Sense."