Brilliant, suspenseful, absolutely riveting film.

Has the sort of richness and dimension that are the hallmarks of master storytellers at work.

Delivers the heady, rib-tickling rush of an action picture, and it gradually builds to an emotional wallop that blindsides you.

Maya is as consumed with finding bin Laden as Jake Gyllenhaal was obsessed with finding a serial killer in "Zodiac," only he was doing it as a hobby.

The movie has such a profound and compassionate understanding of human behavior, family ties and the way ordinary people respond when they're forced into a moral quandary, I can't imagine anyone not being transfixed by it.

Offers a ride worth taking -- an excursion through a fantastical pop universe that is pure, enchanting magic. Try it; you'll like it.

Like every war before it, the U.S. invasion of Iraq has generated its share of movies. But The Hurt Locker is the first of them that can properly be called a masterpiece.

This is a beautiful movie.

What makes it the best movie of the year -- is its insight into human behavior.

Feels like a miracle, a movie that exceeds even the most formidable expectations without straying from its singular path. All hail this King.

Part of the accomplishment of Carlos is the sheer accumulation of detail the movie amasses, and the longer running time gives you a deeper sense of the terrorist lifestyle, and when and why Ilich gradually succumbed to ego and self-glorification without realizing it.

This is the sort of small, intimate drama about unpleasant subject matter Hollywood rarely deals with, but Haneke isn't worried about turning off his audience, because death is something everyone has in common. It fascinates us, the way it also scares us.

A soaring, exhilarating fantasy grounded in earthy emotion, Crouching Tiger more than lives up to the hype.

The fact that that character happens to be so repellent -- and yet so endlessly fascinating -- is one of the film's many strokes of genius.

Jackson's dazzling vision turns the story into a real movie-movie -- one that, unlike too many fantasy films today, is genuinely transporting.

A worthy and delirious final chapter to this hallowed animation franchise.

More than once during The Fast Runner (Atanarjuat), it's easy to forget you're watching a movie.

The movie itself is a nominee for Best Animated Feature, and it's good enough to pull a surprise upset over the beloved Finding Nemo. It's a mad masterpiece.

The Queen taps into the universal curiosity the world shares toward royal families -- an element of the movie that Frears wisely mines for gentle humor.

Waltz With Bashir isn't only a harrowing anti-war plea, it is also an eloquent and deeply moving argument that it is critical to never forget human atrocity, lest the past be repeated.

A model of pitch and modulation and craft. For two hours, the Coens hold you in their grip so tightly that for long stretches it feels a little hard to breathe.

Most prison movies are about escape or survival. A Prophet (Un Prophete) is about the creation of a consciousness. This one, too, could have been called “An Education.”

What Bloody Sunday lacks in clarity, it makes up for with a great, fiery passion.

It's the filmmakers' refusal to sugarcoat their tale's darker subtexts that makes Finding Nemo such a resounding piece of storytelling.

A joyous, amazingly detailed paean to imagination and personal expression that dares -- and succeeds -- to illustrate one of the most mysterious enigmas of all: the creative process.

This is the most impressive directorial debut since"Reservoir Dogs." Being John Malkovich is weird, all right-- the best kind of weird, the kind you haven't seen before.

Although it is technically a sequel, Before Sunset stands perfectly well on its own. In fact, the new movie plays better if you haven't seen the original for a while, so its details have grown appropriately fuzzy.

A visually thrilling experience.