The Station Agent has craft and pace and that far rarer quality, fellow-feeling.

As the sequence builds, it accretes so many heroic and nightmarish associations it plays like a prelude to apocalypse, which of course will come in Episode III. Attack of the Clones is part soda pop, part witches' brew - and all visual ambrosia.

The picture has immediacy, force and humanity. It's a muckraking work of art.

One genuine small triumph of American Splendor is that the title isn't ironic. The movie is a splendid, inventive piece of urban Americana about that hardboiled original, Harvey Pekar.

An unconventional and engrossing French thriller.

What a relief to see a movie in which an audience responds with peals of laughter to subtle facial shifts as well as punch lines.

A computer-animated burlesque fairy tale that generates more belly laughs than any live-action comedy since "Best in Show."

The union of thought and feeling becomes flesh and blood thanks to four brilliant performers in Iris.

Experiencing this film is like hurtling down a verbal slalom.

A Slipping-Down Life may be low-key, but if you enter its unique atmosphere, you will leave exhilarated.

Except for the Mozart music and Tharp movements around the edges, Amadeus plays like a monument to mediocrity. The movie belongs to Salieri.

The movie may not be perfect, but it's jam-packed with goodies -- like a breakfast cereal fun-pack with a prize on every box-top.

Levinson's quirky caper is rich with laughs.

A near-great British neo-noir, harsh yet hypnotic. Its psychological vortex can suck you in and leave you reeling.

Lightning in a Bottle has breadth, both in its multitude of perspectives and its spectrum of performances.

Guerrilla provides one huge compensation: the getting of historical wisdom.

It's one of the most ambitious biographical films ever made in this country, and one of the most unusual, moving and exciting.

Turns the kleig lights around to produce a wry and dead-on commentary on the film industry and the journalists who cover it.

Promises may want to unite the audience in humanitarian emotions, but it's more useful as a prod to examine what these children are learning from their schools, their leaders, and their media.

This picture boasts a story about a yarn-spinning Southern father (Albert Finney) and a sober-sided son (Billy Crudup) that gives it ballast and staying power beyond anything in previous, precious Burton fables like "Edward Scissorhands" or "Ed Wood."

Gloriously funky in the good old meaning of the term. Its vulgarity may be offensive, but it's also pungent and real, and it fuels some ferocious humor.

A dizzying - sometimes frustrating - marvel of moviemaking instinct and ingenuity.

In its peak moments, the movie delivers, all at once, genuine street wisdom and psychology and wrenching expressions of family and friendship.

To discover why movie fans are screaming for more Will Ferrell, and to savor the work of improv wizards like Carell, go see Anchorman.

The glory of the movie is Depp, who achieves his own immortality.

Remarkable documentary.

It's a nightmare that starts like a normal daytime drive and ends in a vortex-like sinkhole.

Like Brian De Palma's 1981 masterpiece "Blow-Out," this movie contains cutting perceptions of obsession, institutional and professional myopia, misplaced loyalty in experts, misreadings of evidence and the kind of confusion that leads to conspiracy theories. But Fincher's movie falls short of masterpiece status.