Lovely, lovely, lovely.

The inventive, often comically horrible fight set pieces will have you standing on your seat cheering like a Viking, and the result is a supremely kinetic and amusing guilty pleasure.

Immensely rich, clipped and precise, with a sly, sardonic sense of humor.

Culkin, a revelation here, mines every last nuance of the confusion and anger that results. Bursting with grenadelike one-liners and full-bodied performances, particularly from Sarandon (batty) and Goldblum (creepy) -- Igby Goes Down inaugurates a career that should be well worth following closely.

The result is an intelligent, moving and invigorating film, just the thing for adults bored with the shock-horror posturing to be found in the work of so many young European directors.

A scrupulously even-handed account, free of ideological or tribal partisanship, based on eyewitness accounts by survivors and the anonymous "Paras" themselves.

Very much a fully realized cinematic experience. John Turturro, even if you have to act less, be sure to direct more, and often.

It's a strangely stirring experience that finds warmth in the coldest environment and makes each crumb of emotional comfort feel like a 10-course banquet.

It goes straight to the top of the class. O can there be such a thing as too keen a guilty pleasure, particularly when the whole genre is knowingly pitched to audiences as a trashophile's delight? No, there cannot.

Breathtaking stuff that freezes the toes, harrows the soul and turns the viewer's seat into a foot-wide ledge over a yawning chasm.

Ramsay has made a movie in which a universe of hopelessness and decay is penetrated by shafts of light that remake these bleak surroundings in strange and beautiful ways.

Writer-director Alex de la Iglesia's bouncy, swaggering satire of ethics-deficient, survival-of-the-fittest free enterprise, peopled by broad grotesques and hysterical caricatures, adds Chabrolian callousness to a cartoonish worldview reminiscent of Frank Tashlin or Joe Dante at their most frenzied.

Full of clever reversals, brief triumphs and bitter setbacks, Wolf Creek is consummately well-crafted, unapologetically vicious and leavened with moments of humor that merely intensify the horror.

Aranoa's bleak yet warmly humanistic Princesas deftly and sympathetically ponders the interlocked destinies of two Madrid prostitutes.

Profound and joyously silly at the same time.

The result is the niftiest Bond movie in years -- fresh, funny, and jammed to the rafters with demented stunts, Boys'-Own gadgetry and brazen promiscuity.

It's clever, vulgar and fully committed to making us howl with laughter. If only all sequels were this much fun.

A refreshing antidote to those E! True Hollywood Story documentaries on adult-film figures like John Holmes, Savannah and Traci Lords.

Indulging his taste for Grand Guignol and the stylistically baroque, Schwentke never quite overplays his hand, though his occasional lapses into visual extravagance can be irritating, and the result is a nasty, intelligent and complex thriller.

Any movie offering a Muzak version of the Ramones' "Blitzkrieg Bop"warrants an immediate and unqualified recommendation.

Immensely exciting and funny.

Equal parts big-house B-feature, hammer-down road movie, post-feminist consciousness-raiser and rock & roll pipe dream.

An even richer, smarter, funnier sequel.

Remarkable energy and wit, and is probably the most purely enjoyable entry in Kaufman's suboeuvre of literary excursions.

Babenco's kindly, concerned eye seeks out the humanity in even the worst of his characters, and by the time he re-creates the massacre, with shocking power and force, one has been equally captivated and appalled at the world he shows. The result is one of the richest prison movies in years.

What's left is "Masterpiece Theatre," a very clean, straightforward adaptation of a beautifully constructed play, faithful to a dead man's classical virtues -- harmony, proportion, balance -- if not to the director's own, more iconoclastic ones.

Proves that it's possible for a movie to be reckless and adventurous merely by being sedate, unhurried and contemplative.

Despite its flaws, Arlington Road romps home as an absorbing, unpredictable thriller.