As irresistible as Chan is irrepressible. In a movie season in which, it seems, all the blockbusters boast wheels, it's a treat to see a movie that has legs.

Washington blows you away. To say he gives the performance of his career is an understatement.

Spoofy and sweet... endearingly old-fashioned.

The film's climax involves a father and son reunion that is tense, tragic and, finally, as transcendent as Mohammad himself.

If we approach with sympathy and curiosity, we will be rewarded with same. And our souls, not to mention our bicycles, will soar to the heavens.

That rare thing, a Hollywood teen flick transfigured into something like pubescent scripture: In the beginning, there was lust; in the end, there is knowledge.

Sunnier and sillier than most of Allen's recent work, makes its belly laughs heartwarming. It's a most winning movie about losers.

An elusive and profoundly moving essay about the stages of amour and of age. Like the best of Godard's movies -- and I haven't been sucked into one since "Passion" (1982) -- it is visually ravishing, penetrating, impenetrable.

It is with gravity and levity and incomparable grace that Ang Lee's Crouching Tiger, Hidden Dragon -- by light years the best movie of 2000.

A knockout...So feverish is Fight Club...that thermometer contact might make mercury shatter.

This year's must-see film.

Not only is it the best documentary in a vintage season for nonfiction films (see "American Splendor," "Capturing the Friedmans," and "Spellbound"), it's also one of the best films of the year. It's as lyrical about the particulars of Kahn as it is about the universals of fathers and sons.

Exhilarating, edgy and wryly comic.

A movie with the sweet soul of "Toy Story" and the boisterous spirit of "Spy Kids."

Brilliant, blistering account of the many ways fame deforms a star, his family and his fans.

Cinderella Man is not a movie about boxing, but about this boxer who personified the heart and hope of 1935.

Werner Herzog's magnificent tragedy, Grizzly Man, a Shakespearean character study that packs the sheer terror of "The Blair Witch Project."

For two hours I felt like a kitten chasing an elusive ball of catnip that remained just beyond my paw.

At the film's intimate best, it gives a guitar's perspective of the troubadour. He plucks his instrument as he plays our heartstrings. It's movie and music bliss.

Profound, passionate and overflowing with incomparable beauty, Water, like the prior two films in director Deepa Mehta's "Elements" trilogy, celebrates the lives of women who resist marginalization by Indian society.

Piercingly funny and unexpectedly moving account of that odd couple, Prime Minister Tony Blair (Michael Sheen) and HRH Elizabeth II (majestic Helen Mirren) and their back-channels affair.

Courageous, shattering and exceptional documentary.

Lives is a best-foreign-film nominee competing in a year that at least three movies in this category are stronger than Oscar's best-picture contenders.

This is the breakthrough work of one of world cinema's most visionary artists.

It is the most influential movie you've never seen, deeply affecting many artists and experimental directors who saw it on the museum circuit in 1977 and 1978.

Throughout the film its makers pose the question of whether saving a work of art is as important as saving a human life. The question is not answered, and perhaps ultimately unanswerable. Yet Europa movingly shows how for many, art and artifacts are living things.

Persepolis, the superb film based on Satrapi's graphic memoirs of the same name, is a riveting odyssey in pictures and words. It's unlike any journal you've read or any animated movie you've seen.

There is nothing sentimental or picturesque about the performances or imagery. The word that best describes both is elemental.