Three sterling performances from Moore, Haysbert and Quaid, all of whom grapple with psychic pain in different, touching ways.

This digitally animated movie, filled with a cast of charming, funny critters from long ago, is family entertainment at its most bright-eyed and bushy-tailed.

You're exhilarated from beginning to end.

Yes, it's that cheesy, but it's also surprisingly appealing. After all, the horse Seabiscuit really WAS that phenomenal.

Evokes its spirituality with deft strokes and wonderful humor.

It's not the enormous undertaking that impresses so much as the sheer ecstasy of flight and the ability of Perrin's team to catch it.

It's the atmospheric sideshow that earns the highest marks.

There's an extra dimension here, not present in the other comedies. Not only is the material amusing, it's charmingly engaging.

Although fictionalized, it feels depressingly real. It's a 90-minute newsreel with a broken heart.

Each revelation seems more disturbing than the next. But Chinese treatment of Tibetans is only half the heartbreak. The other is the amazing resilience of the Tibetans, who are overwhelmingly Buddhist.

Amounts to a rare gift and an opportunity to appreciate the end of an era and celebrate one of the screen's most subtly etched heroes: the soft-spoken Monsieur Georges Lopez.

A movie for almost everyone, from boomer parents (who remember their teens and twenties) to their teenage kids (who can't wait to get started with same). And if there's anyone who can bring so many into the same mosh pit, it's Black, who so occupies the role you can't believe he's acting.

It avoids the compulsively calibrated storytelling of big-studio moviemaking for a slower-moving but powerfully absorbing drama.

Reconfirms Tarantino's status as the master of pop cinema and puts a sense of excitement into the year. He has matched, if not eclipsed, the power and scope of 1994's "Pulp Fiction," though not its human charm.

This film explores what low-budget films do best: the quirkiness of character, and slightly off-kilter comedy.

An understated, hypnotic stroke of brilliance.

An extraordinary piece of electronic history. And a riveting movie

Suddenly, you're looking at life in his (Thornton's) jaundiced way and laughing with a sense of vicarious liberation, even when he says the most outrageous things -- to children, no less. And I daresay you can still recover your holiday spirit when you're through laughing.

If the scope of the film feels small, Girl With a Pearl Earring fills that scope to bursting with subtle glory. It takes things as far as they can -- and should -- go.

McNamara fits perfectly into Morris's canon: He tells a story that knocks you right off your feet.

The movie's intense watchability can be traced directly to superb performances by Jennifer Connelly and Ben Kingsley.

Theron has rendered herself 100 percent unrecognizable. Not since Robert De Niro morphed into hulk dimensions to play heavyweight boxer Jake La Motta in "Raging Bull" has there been a transformation this powerful and effective.

The compositions are masterful, especially the snow-covered scenes in Istanbul and, most memorably, the spectacle of an overturned ship in the wintry harbor.

Although it's a drama, Osama feels like urgent documentary.

Demy, his cinematographer Jean Rabier and production designer Bernard Evein created an operatic masterpiece of romanticism, which makes a modest but effective antidote to the harsh era of cynicism that has pervaded world cinema ever since.

Until its final stumble, this intelligence thriller, starring Val Kilmer, is charged with brilliance.

Ford makes such a dynamic president in Air Force One, you may find yourself favorably weighing his odds in Iowa and New Hampshire.

So full of pep you can't help surrendering to its creative energy.