Possibly the most daring and honest drama about sexuality I've ever seen.

A hearty style of self-referential filmmaking that only adds to the persuasiveness of Lillard’s stunning performance.

It's an inspired pairing. Wilson is electric as he seduces Chan into a partnership in this self-consciously crafted western, whose cleverness is only part of what makes it so funny.

Few things are more enthralling than unrequited love, as demonstrated by this drama.

With the devout collaboration of the cast, Williams blurs the boundary between experience and storytelling as if the distinction were not only irrelevant but presumptuous.

This movie restores genre elements to a level of potency that's disturbing, satisfying, and rare as hell.

It's scary and hilarious, with a magical, nonrealist tone, and it emphasizes physical comedy as much as disturbing, beautifully integrated metaphors.

Using archly staged interviews and reconstructions that draw attention to the components of the documentary form, Morris does justice to the complexity of hot-button issues by suggesting several layers of subtext at once, portraying the articulate Leuchter as both rational and prone to rationalize.

Some delicately interwoven and unresolved subplots help make the young character's rite of passage wholly, disturbingly compelling.

Lee performs magic. He's preserved and expanded the experience of an adrenaline-pumping, uproarious night of racism-, classism-, and sexism-subverting humor.

This is the scariest movie I've ever seen.

A wonderfully complex examination of sexual and material politics that's full of bravely provocative, gently funny, and warmly human encounters.

Sumptuously hued in its emotional and visual tones, this drama is also a fairy tale, its plot contrivances beautifully justified by its minimalism.

Almost cagily creating understated drama from high-stakes reality.

A scene set inside the chicken-pie-making machinery proves that the Rube Goldberg formula is infallible.

It may not be “The Bridges of Madison County,” but the latest Kevin Costner romance is nearly as good as they get.

The visuals are wild, the sound track has the audacity to underscore the subtext instead of just echoing the obvious, the comedy is irreverent and occasionally slapstick, and the metaphorical details are consistently strong.

Inspired, elaborately plotted, and unusually satisfying variable-speed chase comedy.

It's easy to suspend disbelief and embrace this historically creative fiction, whose clever relationship to what's known and what's unresolved is part of what makes it so intriguing and so romantic.

Mitchell, who also directed and wrote the screenplay, originally created this glorious rock opera for the stage with composer-lyricist Stephen Trask.

A movie whose story may be even more innovative than the superreal solidity of the animated characters.

This terrifyingly beautiful movie blends metaphor and stark social commentary to achieve a spontaneous grace.

Full of adventure, spectacle, light romance, and the kind of suspense that doesn't require an unpredictable outcome to make your spine tingle.

Director George Tillman Jr.'s screenplay covers an array of events in the characters' lives so replete with drama it could easily be too much, but the movie's humor is vibrant, the sorrow unexploitive, the sexuality character enhancing, and the love heartfelt--and Tillman is tremendously skilled at bridging the vast shifts in tone.

Writer-director Wong Kar-wai makes these five self-consciously idiosyncratic types--often seen through distorting lenses in cinematographer Christopher Doyle's somber, garish Hong Kong--fully and instantly believable.

Jensen's use of the conventions of documentary making -- and his undermining of them in ways both bold and subtle -- seems too canny and consistent for the form. Yet the harder I try to decide whether this is a documentary or a parody, the more I wonder why it matters.

One girl's melancholy (beautifully expressed by actress Kerry Washington) is a response to a fractured romance.

Dizdar inventively examines bigotry, combining daring humor and hyperbole, dark realism and shining idealism.