Raunchy, smart, ebullient, melancholy, insightful, surprising, funny, frank and sexy as all get-out.

The more you learn, the more questions you have about life in that Great Neck house. Leo Tolstoy wrote that "every unhappy family is unhappy in its own fashion," but not even he could have invented the Friedmans.

Finding Nemo and its Pixar predecessors tap into the shared gene among the kids and adults that delights in imagination-engaging, eye-tickling and wit-filled storytelling. You connect to these sea creatures as you rarely do with humans in big-screen adventures. The result: a true sunken treasure.

A visual and aural feast that combines elements of classic gangster melodramas, crime epics such as "The Godfather" and playful non-linear narratives such as "Amores Perros," City of God explores a deadly culture while feeling more alive than anything that's hit the big screen in years.

A sign of O's effectiveness is that it works regardless of whether you know Shakespeare's play.

This is an art film in the true sense of the term, engaging the mind, senses and emotions in a way that only movies at their best can do.

Gordy barely is mentioned, even though he was the artistic leader who presumably profited most from the Funk Brothers' labors. Discussing Motown solely through the prism of the musicians is like assessing Picasso's works on the basis of the paint quality.

Announces the arrival of an undeniable talent (Meshkini) that has come of age.

Violence may provide entertainment value in more crass or commercially minded projects, but in the unflinching world of Affliction, it leads only to the ruination of your soul. [5 February 1999, Friday, p.D]

A triumph that deserves a broad audience.

His movie isn't a surgical attack at this problem and that; it's a cluster bomb intended to reap destruction, make a mess and jolt all who see it to react.

It's funny, moving and true, and it respects the audience's intelligence as much as the characters'. That combination, no matter the movie's label, deserves to be treasured.

You wouldn't think the darn thing would have such lingering power.

Combining the immediacy of the Internet and the wise perspective of history, Startup.com proves that investing in real-life drama can reap rich dividends.

Generates genuine tension because it's propelled by actual human feeling, which, these days, turns out to be a surprisingly thrilling prospect. [11 Dec 1998]

Delivers that rare combination of winning traits. It's a low-key comedy with a risque hook -- a seemingly straight woman dabbles in lesbianism -- yet it maintains an old-fashioned faith in literate dialogue, believable behavior and themes that reach beyond the plot points.

The day after seeing it, you're less likely to fixate on the flaws than to find yourself experiencing chuckle aftershocks as you recall the most outrageous gags. In these days of mostly forgettable comedies, that sensation has become all too rare. [15 July 1998]

The actors and writing lend unexpected dimension to all of the characters, and Lopez's Harry is an indelible antagonist, one who manages to be genuinely big-hearted and evil.

Takes a premise that seems ripe for broad, vulgar joking and turns it into a sly, even subtle, comedy.

More intent on engaging the heart as it explores the mysteries contained within - mysteries that, as Lawrence and his spot-on cast demonstrate, are far more compelling than simple murder.

Boasts all of the drama and suspense of any reality TV show, but it actually stars smart people. And they're kids.

The characters may be speaking Chinese, but such rousing entertainment needs no translation.

Such a stylistic inconsistency might be bothersome in another film, but here it's just part of the texture.

Washington, typically, is rock-solid in front of the camera, conveying ample warmth and sympathy. Behind the camera, he's a relatively straightforward storyteller, strategic in his use of lyrical touches.

A stirring, emotionally true testament to foolish bravery as well as shameful evidence of the severity with which it is so often punished.

Revives the art of smart, scathing movie conversation as it skewers Manhattan's singles scene while providing a goodly number of laughs. Like its subject, the movie may have its prickly moments, but it's awfully fun to watch.

This small-scale, low-budget movie is defined by an honest searching quality.

The movie boasts one of those rare twist endings that strikes the right emotional chords, and it deserves credit for laying its bets on a sexy, sympathetic Macy. Sometimes long shots pay off.

A puzzle movie in which the puzzle is actually worth the time and effort to solve.

A brilliant, absurd collection of vignettes that, in their own idiosyncratic way, sum up the strange horror of life in the new millennium.

An animated tale equipped with heart, humor, blazing action and not a sappy song in earshot.

When a culture offers little more than death upon death, appreciating life's everyday beauty is as good an answer as these characters -- and this filmmaker -- can provide.

The climax, featuring what's essentially a suspended roller coaster of closet doors, is as thrilling as it is imaginative.

Family life rarely is portrayed with such warmth, clarity and vibrancy as in In America.

The movie is zippy, laugh-out-loud funny, persuasive and at times horrifying, as Spurlock undergoes his unpleasant changes with good humor and bad tummy aches.

More flat-out funny than "Rushmore," but in neither film is the humor joke-based. What you're laughing at is the behavior of characters who are so fixed in their idiosyncratic worldviews that they can't help but careen into each other like out-of-control bumper cars.

Dislocated from their native country and former lives, Bob and Charlotte come to establish a language of their own. Coppola has done the same, proving she boasts one of today's truly distinct filmmaking voices.

One may gripe that the tale at times seems familiar, yet that familiarity is also part of the movie's power: Here's a story from halfway around the world that somehow connects with the hearts of viewers of almost any culture.

Until it develops a bad case of verbosity toward the end, it improves upon its predecessor in almost every way, delivering flashier thrills while digging deeper into its characters and adding an overlay of wit.

The foulest holiday movie I've ever seen -- and the funniest.

The movie is the cinematic equivalent of a near-perfect three-minute pop song. It makes you laugh, smile and tap your toes over a brisk 88 minutes, and when it's finished, you're ready to hit repeat.

With Cuaron leading the way, Harry has burst from the printed page to soar on-screen.

There's something simple yet miraculous about watching these beautiful animals interact with the wild and each other, even if their actions are being manipulated for the sake of drama. Annaud has taken his film's message to heart: He knows when to get out of nature's way.

Corny and far-fetched it may be, but Frequency works - except for some stretches when it doesn't.

Appeals to a universal appetite for stories that are as rich and warm as they are flavorful.

The outline of Murder by Numbers may be familiar, but the filmmakers and Bullock do an expert job of filling in the colors.

A lot of fun, with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers. Juicy roles for older women? Let the revolution begin.

Plays more like a gritty, episodic British independent film powered by a soundtrack of Who songs that illuminate the main character's turbulent emotions.

A well-told, vividly imagined movie that doesn't pretend to be more than it is and doesn't lean on pop-culture references to win over its viewers.

Although not all of the movements are fleshed out to their full potential, The Red Violin still attains a certain symphonic grandeur that -- at a time when so many filmmakers are churning out cinematic ditties -- deserves to be applauded. [18 June 1999, Friday, p.A]

It's rare to see a movie that takes such joy in the power of words, not to create lofty works of art but to effect the simple, necessary translation of what's in one's heart and mind.

This clear-eyed, low-budget drama is populated by troubled teens whose stories aren’t packaged in neat little bows. Their histories are sad, their feelings raw, their futures uncertain.

A surprisingly insightful, non-judgmental meditation on a troubled marriage-with-kids.

They're a ragtag assembly for sure, and the results aren't pretty. But on a simple mission of entertainment, they get the job done.

A lean, mean tension machine, setting up its premise, executing it with smarts, throwing in enough twists to keep things interesting, and wrapping it up before anyone can get fatigued or reflective. It's on the money.

A well-told story. It pits a compelling central character against a formidable adversary in an intriguing setting while keeping you riveted to the cat-and-mouse strategizing, surprise turns and a few moments of actual warmth.

Against all odds this "Terminator" deserves to be welcomed back.

The biggest surprise may be what the filmmaker doesn't show; he withholds a big dramatic payoff, so the audience must fill in the blanks.

The Rookie may be pushing buttons, but at least they're the right buttons.

It creates a strong sense of a living, breathing community, and you root for its affectionately drawn characters as they experience the giddiness of triumph without forgetting the project's bittersweet inspiration.

Stockwell deserves kudos for working mental illness into a teen story without making it the explicit focus, as in simplistic exercises like "Girl, Interrupted."

The movie sticks with you, thanks to LaBute's observational powers and the three impressive lead performances. [15 August 1997, Friday, p.C]

The surprise here isn't that 15 Minutes isn't a masterpiece; it's that the movie works at all.

A throwback to the family films of the 1970s, like one of Disney's goofy capers crossed with "Willy Wonka and the Chocolate Factory."

You can interpret Lost in La Mancha as a sort of triumph of the creative spirit. Gilliam's darkest gallows humor always comes with a smile.

You find yourself tricked and having enjoyed the experience after all.

Smart and well-crafted, and it boasts complex characters, effective star turns and evocative photography of a small Alaskan town in summertime, when the sun never sets. It's a solid Hollywood thriller.

Gripping in purely cinematic terms as an imaginatively told tale of sibling rivalry and the pressures of great expectations.

You watch the movie with an ongoing feeling of dread, and it's not a feeling that ever dissipates.

If you require fine writing, sharp plotting and consistently good acting, you will be in for a long 86 minutes.

This is one of those films that can accurately be described as small. Mostly, you just appreciate the time spent with these particular people in this particular place.

Quite entertaining.

Mamet being Mamet, the story has far greater repercussions than whether the kidnap victim will be returned to safety. This is a tale of grand conspiracies, formidable forces, shadow warfare; the more that is revealed, the higher the stakes become.

Has such a cheerfully zingy energy that you keep rooting for it even when its jokes turn flatter than a jump shot at a YMCA pickup game.

Without insult to either film, Anger Management could be called "Punch-Drunk Love" for the masses.

There's good pulp and bad pulp, and for most of its duration, Joy Ride is quality stuff.

When a loving son makes a documentary about his father, you can forgive him for laying it on a bit thick - especially when his love for his subject, Ron Santo, is shared by an entire city.

It's suspenseful. Fleder and his able cast deliver a brisk, entertaining story that, despite straining credulity at times, earns a positive verdict -- no undue audience-rigging required.

Never quite transcends its movie-of-the-week trappings. But either you're glad to have spent time with these three generations or you aren't. Bottom line: I was.

Captures the complex dynamic of a mentoring relationship like few movies before it.

Boasts the elements of something greater than a love story. Too bad it devotes them to something less than a great love story. [22 November 1996, Friday, p.A]

LaBute never loses sight of what shape he wishes this crafty story to take. In the end, his aim is true.

That it's got a positive message may strike some as decidedly not "edgy" -- but they should be too busy stomping their feet to notice.

More thoughtful than advertised. And as a confection, it's less sweet and more flavorful than your average wedding cake. [20 June 1997]

Fincher has a dazzling command of visual storytelling.

If you like Redford, Spy Game will be a real treat: a fast electric thriller full of the old Sundance charm and pizzazz.

A small movie about big emotions, with Green capturing the rush of love and sting of heartbreak with great vividness.

Cunningham's and Woolf's novels are dedicated to capturing a person's essence through the events of a single day, and Daldry's film is faithful to that aim. But the range of life presented here feels constricted; the movie misses the sublime for all of the despair.

With such skilled filmmaking and committed acting on display, Narc is far more a score than a bust.

What lingers are the unsettling feelings, inexplicably potent images and realization that some of life's key crossroads are visible only in the rearview mirror.

Liman packs enough firepower into The Bourne Identity to please the summer action fan, including a reshot climax that contains one of the niftier stunts I've seen recently. The centerpiece action sequence is a bravura car chase through Paris, yet the moments that bookend it are equally impressive.

An engaging character study full of lyrical images and strong performances. It's an exceedingly well-made film.

Presents a few too many hugs and arguments over what's best for Will. But ultimately, the movie, like its protagonist, boasts an integrity and intelligence that are tough not to admire. [25 December 1997, Tempo, p.1]

The abundance of visual and verbal wit here ensures that the pleasure of watching Snatch need not be guilty.

Sure, you've seen some of these moves before, but Save the Last Dance triumphantly passes the audition.

If Intermission isn't profound, it's got boisterous humor and energy, with U2's rollicking "Out of Control" leading the charge. Given the grimness of many Irish tales, Intermission represents less of a pause than a burst into a fresh direction.

Control Room isn't a systematic dissection of Al Jazeera's possible biases regarding the U.S. or Israel; it's noted that Arabs almost invariably view the war with Iraq in the context of the Israeli-Palestinian conflict while Americans rarely do.

Does it immerse the uninitiated into a new, fabulous world? Yes. To the book's many readers, does this feel like the real "Harry Potter"? For the most part, yes.