Doesn't just kick your ass. It pummels your entire body; it leaves you trembling.

Probably like nothing you've ever seen before. In a cool world, it would be guaranteed not only the Best Animated Feature Oscar, but Best Picture as well.

Some of the finest ensemble acting this year.

The film's biggest strength is the same characteristic that may cause people to underrate it: that the group of friends we watch onscreen feel not like England's greatest actors showing off, but rather a group of friends who have indeed known each other for years through life's little triumphs and large tragedies.

Robin Williams just may have found the greatest role of his career. Playing beautifully both to fans and haters, Williams' Sy is a character you don't know whether to hug or go vigilante on his ass, a balance Bob Hoskins couldn't quite capture in "Felicia's Journey."

Though not as visually impressive as comparable Terry Gilliam fare such as Jabberwocky, the verbal wit is fast and abundant (abetted with cameos by Billy Crystal, Peter Cook and Mel Smith), and you'd better believe the midnight movie crowd will remember almost all of it.

Spectacular entertainment.

Horror fans and those who just plain enjoy a well-told story should thank the cinematic gods. Session 9 is not only the scariest movie of the year, but also perhaps the most easy to believe since the first "Blair Witch."

Beautiful to watch and universal in theme by any name.

No B-movie fan, save perhaps the extremely obsessive for whom this is old hat, should miss it.

You'll feel fatigued watching it, but more out of empathy than boredom.

Though perhaps too mainstream for the art-house crowd and too foreign for the multiplex, Born Romantic is a natural crowd-pleaser, and deserves to be more successful than its limited engagement may permit it to be.

Swept Israel's version of the Oscars two years ago, and though it won't do as well here, it's an accomplished debut with heart, war and sex. In the age of paranoia, it just might be the perfect date movie.

Delivers a quick buzz, lots of stuff to look at, and a totally nonnutritious joy that can only be attained with the aid of artificial flavorings and Yellow #5. In a nutshell, it's the perfect summer movie.

Roll with any stylistic difficulties you might initially have, and prepare to be awed.

The pleasure is in watching veteran star Bouquet and the versatile Berling go at it -- they even seem to look alike.

Ustaoglu has pulled off a rare feat in this film, enlightening us about a horrible situation while never losing sight of his central tale of friendship and loyalty.

Almost two and a half hours long, and mostly consists of calm conversations. But don't be deterred, or you'll miss out on a study of character, class and changing times that puts Robert Altman's stodgy "Gosford Park" to shame.

The sensitive art-house viewer should be warned: Though slow-moving at first, the film ends in explosions and violent death, with a level of sadism that will undoubtedly prove too intense for some viewers.

The acting is superb across the board, especially from Adebimpe.

As a gallery of the grotesque, however, the cinematic equivalent of a Joe Coleman painting or Adam Parfrey publication, The Salton Sea is a blast.

The movie's essentially a series of high-speed, dizzying rocket chases that should keep the young'uns perfectly quiet.

If you like being scared, you should have fun. Bring a date to hold hands with.

One of the few unanimously acclaimed classics of Japanese animation.

Beautifully shot and finely acted movie.

Stephen Earnhart's documentary lovingly covers the process -- veering between pathos, inspiration and mockery

Though the film came out a year ago in the U.K., the timing here is unfortunate, and one has to wish that, like so many bigger productions, Liam could have migrated to a more-distant release date.

Utilizing lots of complicated, well-choreographed steadicam shots, La Salle directs with confidence -- this may yet be his true calling.