Scott and Davis could not be better. You're in for something special.

Not your typical biopic. But it is one of the best times you'll have at the movies this year.

I lost it just watching Corky show off such memorabilia as "My Dinner With Andre" action figures and a "Remains of the Day" lunch box. Priceless.

Day-Lewis is smashing as the man caught between his emotions and the social ethic. Not since Olivier in "Wuthering Heights" has an actor matched piercing intelligence with such imposing good looks and physical grace.

Nothing can detract from the film as a portrait of hell so shattering it's impossible to shake.

One for the time capsule.

It's a modern horror story that gets you where you live.

Colossal entertainment -- the eye-popping, mind-bending, kick-out-the-jams thrill ride of summer and probably the year.

Lukas Moodysson, a young Swedish director, crafts a stunner of a film out of familiar turf.

By the time they're onstage, your pulse is pounding right along with theirs. Spell this movie: g-r-e-a-t.

Boyle and screenwriter Alex Garland plumb the violence of the mind with slashing wit and shocking gravity. Happy nightmares.

Lin is a talent to watch. There's a sting to this film that gets to you.

Despite over-ripe narration and an understandable urge to cram too much in, Ghosts of the Abyss is a thrilling documentary.

It would be easy and convenient to dismiss Irreversible as blatant sensationalism. But Noe's bruising film is too artfully crafted to write off as exploitation.

What catches us in Spider's web -- besides the indelible performances of Fiennes and Richardson -- is the director's sympathy with this freak man-child who struggles to order his confused memories into a kind of truth.

Leave it to a g-rated cartoon to give the live-action epics a lesson in action, fun and bracing originality.

Unabashedly hokey, but would you want it any other way? In an era of cynical junk (did anyone say “Bad Boys II”?), Ross restores the good name of crowd-pleasing.

A film of female empowerment that resonates deeply.

The result is a movie miracle; it soars.

I've seen A Mighty Wind only twice so far. Maybe it is less fresh than "Guffman," more strained than "Best in Show." Who cares? It's still a gift from comedy heaven.

Don't stall about seeing Sofia Coppola's altogether remarkable Lost in Translation. It's a class-act liftoff for the fall movie season. Bill Murray and Scarlett Johansson give performances that will be talked about for years.

Without an ounce of phony Hollywood uplift, Winterbottom's film cuts right to the heart.

In Kill Bill, Tarantino brings delicious sin back to movies -- the thrill you get from something down, dirty and dangerous.

To those who see no purpose to this film, I say the purpose is learning not to turn a blind eye. The unique and unforgettable Elephant keeps its eyes wide open.

You won't see more explosive acting this year.

Crowe -- fierce, funny and every inch the hero -- gives a blazing star performance.

It's a feast of smart, sexy, glorious talk. The Oscar for best foreign film belongs right here.

It's comic, touching and a visual knockout.

Wayne Kramer, who co-wrote the scrappy script with Frank Hannah, makes a potent directing debut and strikes gold with the cast.

Director Tim Burton finally hooks the one that got away: a script that challenges and deepens his visionary talent.

This is a film in which ideas resonate as well as action. Gandalf’s words to Pippin about death have a muscular poetry.

It will knock you for a loop like no other movie this year.

The specter of war haunts Cold Mountain, but you remember it for the heat of its romantic yearning and the mysteries that wrap themselves around you until you're lost in another world.

Altman, showing the ardor and assurance of a master, pulls us into his film with seductive power. You won't want to miss a thing.

Hits hardest when it bypasses sentiment to ponder the inextricable mix of love and pain that comes with the ties that bind.

Director Wolfgang Petersen puts such a fresh spin on the familiar that it all works like gangbusters.

Chases so many ideas that it threatens to spin out of control. But with our multiplexes stuffed with toxic Hollywood formula, it's a gift to find a ballsy movie that thinks it can do anything, and damn near does.

LaBute achieves a bracing originality by observing human folly as a means to understand rather than condemn. Love or hate his films, LaBute is one of the most challenging filmmakers to emerge in years.

Kidman gives the most emotionally bruising performance of her career in Dogville, a movie that never met a cliche it didn't stomp on.

The film shines at capturing the watercolor delicacy of China's past.

It’s one of the blackest comedies to hit the screen since Dr. Strangelove. Spurlock proves himself a supersize talent; he makes you choke on every laugh.

Shrek 2 may be computer-generated, but its innate heart and glorious sense of mischief make it one of the best and most humane movies of the summer.

This little-hyped thriller emerges as a dark-horse winner by reminding us of how pleasurably exciting a popcorn movie can be when it's populated by actors who are in it for more than an exorbitant fee.

Not only is this dazzler by far the best and most thrilling of the three Harry Potter movies to date, it's a film that can stand on its own even if you never heard of author J.K. Rowling and her young wizard hero.

Keep "Survivor" and "Fear Factor," and give me this spellbinding mind teaser, the ultimate game for movie buffs.

Fanaticism is Dannelly's target, not faith. That's what makes his film a keeper: It sticks with you.

It's one for the time capsule.

Moore has marshaled what's on the record and off into a stinging indictment of where we're going. In a multiplex filled with Hollywood cotton candy, we need him more than ever.

A sequel of twisted thrills and sly surprises.

You can't shut the door on this spellbinder. It gets into your head.

If you've forgotten the kick you get from watching a globe-trotting, butt-kicking, whiplash-paced action movie done with humor, style and smarts, take a ride with The Bourne Supremacy.

Kudrow's Michele is a deadpan delight as she joins fellow misfit Romy (a deliciously funny Mira Sorvino).

Down in the mud with the guys, Moore finds the heart of her character and a career beyond vanity and hype. She's never looked better.

No crime film in years boasts a cooler vibe than Michael Mann's dazzling Collateral.

The ending -- a more devastating surprise than "The Village" could manage -- caps eighty sweat-job minutes of imaginative, jolting suspense.

The butt of the hilarious and heartfelt screenplay by Paul Rudnick (Jeffrey) is homophobia, and his sting is wickedly on target.

Darroussin is killer good and director Cedric Kahn turns Georges Simenon's seminal novel into a darkly comic spellbinder that pins you to your seat.

Throbs with action, suspense and a seductive rhythm all its own.

A mesmerizing look at an asthmatic, rich-boy medical student in the act of discovering his insurgent spirit.

The result is a film that defies description. I'd call it some kind of miracle.

Using Staunton's face as his canvas, Leigh crafts a powerfully moving film that is unmissable and unforgettable.

A ruthlessly clever musical, a punchy political parody and the hottest look ever at naked puppets -- the first film, porn included, in which a woody is actually made of wood.

Jamie Foxx gets so far inside the man and his music that he and Ray Charles seem to breathe as one.

Glorious entertainment.

Scrappy, funny, hot-to-trot biopic.

An emotional powerhouse.

Mike Nichols' haunting, hypnotic Closer vibrates with eroticism, bruising laughs and dynamite performances from four attractive actors doing decidedly unattractive things.

Forget "Hero" -- that cult hit was just Zhang Yimou's warm-up for this martial-arts fireball that throws in a lyrical love story, head-spinning fights and dazzling surprises.

When it flies, it soars.

A rich blend of humor and heartbreak.

Bird has crafted a film -- one of the year's best -- that doesn't ring cartoonish, it rings true.

The knockout punch comes from Eastwood. His stripped-down performance -- as powerful as anything he's ever done -- has a rugged, haunting beauty. The same goes for the movie.

It's Bacon who overcomes all obstacles.

Fresh comic thinking spices up this smart cookie of a satire from director-writer Paul Weitz (About a Boy). He makes it sexually provocative and subversively hilarious.

In Washington's haunted eyes, in the stunning cinematography of Roger Deakins (Fargo) that plunges into the mad flare of combat, in the plot that deftly turns a whodunit into a meditation on character and in Zwick's persistent questioning of authority, Courage Under Fire honors its subject and its audience.

Sleepers, for all the doubts it raises, is the work of a man who speaks for absent friends and "for the children we were." It's his secret heart.

Immensely entertaining and provocative.

The acting is electric. By the end of this haunting, hypnotic film, you feel you have watched lives being lived, not just imagined.

A riveting and indispensable record of the war in Iraq because it comes from the men who lived it.

A fiercely funny human comedy with jokes that sting and leave marks.

The fierce and funny film version has been directed by Texan Richard Linklater (Slacker, Dazed and Confused, Before Sunrise) with rare grace and compassion.

As always with Park Chanwook, you just hold on and let him rip.

The worst thing I can say about this savage, sexy and ferociously funny screen translation of three stories from Frank Miller's Sin City series of graphic novels is that it's too much of a good thing.

This bonbon spiked with malice is a triumph for Jaoui, who takes witty and wounding measure of the small betrayals that leave bruises on us all.

Funny, touching, vital.

It's the classic American tale of the family man triumphant, and Howard makes sure that it hits you right in the heart.

There's a word for the kind of comic, dramatic, romantic, transporting visions Miyazaki achieves in Howl's: bliss.

Performance artist Miranda July hits a grand slam as the writer, director and star of her first film. It's a moonbeam romance laced with startling wit and gravity.

It's original, outrageous and murderous fun.

Sometimes a movie comedy just clicks. Welcome to one of those times.

It's a popcorn-movie deluxe.

Broken Flowers may be too low-key for laugh junkies, but Jarmusch fills his sharply observed comedy with wonderful mischief. The mix of humor and heartbreak brings out the best in Murray.

Herzog conducts his own expedition into knowing the unknowable -- the true task of any filmmaker. Herzog makes it an art.

The gripping, seat- clutching suspense in this baby will pin you to your seat.

Director Fernando Meirelles and screenwriter Jeffrey Caine put a human face on John le Carre's novel of sex, lies and dirty politics in modern Africa. Prepare for a thrilling ride.

It's warped and wonderfully effervescent. Ditto the songs by Danny Elfman, who sings the role of Bonejangles, the frontman for a skeleton jazz band at a swinging underworld club. Best of all is the love story.

Watson and Everett, both superb, bring ferocity and feeling to their roles. But the one you won't forget is Wilkinson (In the Bedroom) in a towering performance of grace and grit that deserves to put him on Oscar's shortlist. Good show.

Capote is a movie that doesn't pull its punches. It's a knockout.