The most visually inventive comic book adaptation to make its way to a movie screen.

Truly a tale for our time.

This enigmatic and in some ways maddening motion picture has the power to haunt every viewer it reaches.

Isn't just heartwarming and inspiring, it's a remarkable look at a group of children whose most noteworthy trait is that they are ordinary.

Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.

The action scenes are, for the most part, kinetic and exciting - things that have rarely been true of fights and chases in the superhero's previous incarnations.

From a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say.

Actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.

Rude, raunchy, uproarious, yet with elements that are surprisingly sweet.

The material is intellectual, but the treatment is not. Proof is a stirring motion picture that challenges our views on a great many things about life, some of which we take for granted. And, by opening up the play, Madden has made it less talky and more cinematic without losing the quintessential elements that made it such a success on stage.

One of the most refreshing things about this movie is the manner in which it combines genres in unexpected ways.

The exceptionally strong cast showcases American, British, and Australian actresses, all of whom show an astonishing willingness to appear in physically unflattering circumstances (no makeup, hair and skin caked with drying mud).

The brilliance of Bennett's movie is that it concentrates on the characters and their interaction and never becomes a mouthpiece for one side or the other with respect to the death penalty.

Despite an occasional narrative hiccup, this is a rich and moving motion picture.

And, while there's nothing revolutionary or extraordinary about the dramatic narrative, the subtext gives Winterbottom's movie its force.

Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.

Taking advantage of the studio's breathtakingly intricate animation, directors Mike Gabriel and Eric Goldberg have breathed vitality into this, the fifth "new wave" Disney animated picture.

Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.

From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.

Writer/director Mangold never compromises the integrity of his painfully-intense script. There isn't one crowd-pleasing moment in the entire movie, except perhaps the last scene, which offers a flicker of hope.

Jarhead is about how the experience of being in the military fundamentally changes an individual. In this case, the focus isn't about the madness of slaughter in the jungle, but the madness of inaction in the desert.

Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.

In today's environment, it's a rare thing to find a movie with interesting characters in dense, intelligent storylines, but that's what Syriana offers. It is one of the best films of 2005.

Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art -- powerful, beautiful, and effective. (Review of 1994 Release)

It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.

The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.

Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.

One of the best things about True Lies is that it's genuinely funny.

It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.

Putting aside all the controversy, however, viewers are left with an expertly-directed and well-acted historical epic that disappoints only in its shallow perspective of the Irish/British and Irish/Irish conflicts.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Not only was I touched by the characters and engrossed by their story during the 120 minutes they were on screen, but I could have easily spent another hour or two with them.

It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.

A beautiful film, not only in the way it was photographed, but for the manner through which the characters are revealed to us.

V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.

These are two fascinating characters, and watching them thrust and parry proves to be as impossible to turn away from as observing a grotesque roadside accident.

Superman Returns is not only a credit to the first two Superman movies; it may be the best of the series. Its combination of romance and fantasy adventure is unparalleled in superhero comic book-to-movie sagas.

Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.

World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."

The film's look is impressive; it's the most successful rotoscoping effort to date (far surpassing Richard Linklater's duo of "Waking Life" and "A Scanner Darkly"), and causes every frame to drip atmosphere.

The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.

A solid starting point for those unfamiliar with Apted's greatest work, and a must-see for those who have been down this road before.

Mehta has created a pair of memorable characters who are easy to empathize with, and who gratifyingly are never transformed from flesh-and-blood individuals into mere symbols.

With Deliver Us from Evil, Berg has been uncompromising in the picture she paints. She pulls no punches and makes no apologies.

With its rare mixture of intelligent plotting, flawless acting, and start-to- finish tension, Copycat is a force to be reckoned with.

As embodied by Liam Neeson, Rob Roy is a tremendous protagonist -- a naive man whose belief in honor and whose love for a woman, family, and clan make him a figure to cheer for.

The movie is funny, energetic, and enjoyable -- the perfect film for a night or an afternoon out, regardless of what mood you're in. While the plot and characters don't boast any special depth, there's enough freshness to hold just about anyone's interest.

Its complex (yet not mystifying) storytelling, forceful character development, and superb cinematography make this a candidate for one of 2006's best offerings.

Stranger than Fiction is a wonderful cinematic experience - a welcome way to spend a chilly autumn evening.

This is no longer the James Bond we know from the '60s, '70s, '80s, and '90s. Welcome to the new world of MI6's most storied agent.

With solid performances and a terrific screenplay, this movie offers solid, no-frills drama that feels organic and believable, not contrived.

The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.

Dreamgirls is good and at times it touches greatness.

De Niro pulls the viewer into the world he has created and holds him there, sometimes spellbound, until the story is over and the end credits roll.

The lack of family friendliness does not diminish what del Toro has achieved with this magical motion picture.

This is easily the best family feature of the early year.

Ricci's performance is brave and effective - the most provocative in a career that has rejected Hollywood norms.

Using black humor, blood, and a pair of tremendous performances, Freeway hones in on its targets and calculatedly skewers them one-by-one…This movie is both grimly funny and thought-provoking.

The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.

Mrs. Parker and the Vicious Circle is a top-notch movie. Everything is in place -- a striking lead performance, solid supporting players, a well-written script, and, above all, expert direction to merge the ingredients.

The story is timely and powerful, and the performances of Hanks and Washington assure that the characters will not immediately vanish into obscurity.

Gut-wrenching, brutal, and powerful, American Me is not enjoyable in the conventional sense, but nevertheless stands out as one of the year's most impressive purely dramatic offerings.

Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.

An engrossing examination of the elemental forces that define human nature.

De Niro successfully varies the tone, keeping it light and playful at times, dark and somber at others. A Bronx Tale is his triumph, and a testimony that all those years of watching the best in the business have borne fruit. If what is yet to come has any of the promise shown by this debut, we may be witnessing the birth of yet another directing talent.

This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.

The tale related here isn't all that original, but the honest presentation lends impact to a wrenching scenario.

With its refined wit and glorious vision, The Hudsucker Proxy is certainly deserving of a wide audience.

Everything (not just the flesh) is vibrant with life.

Witness states its position about clashing cultures with eloquence.

I wouldn't go so far as to classify Jacob's Ladder as a masterpiece, but it is smart and compelling and unquestionably worth a first or second look.

For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.

Georgia is a tour de force for Leigh, and her portrayal of the troubled, passionate Sadie lingers in the mind long after many of the movie's plot details have faded.

This film is the complete package, and offers a thoroughly satisfying two-plus hours in a darkened theater.

It delivers on everything it promises, from the modern day reverse-Cinderella fable to a fabric of low-key humor. [Review of re-release]

Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.

This is the kind of charming motion picture that can be viewed repeatedly without ever wearing out its welcome. With several triumphant musical numbers, an original villain, a smart and witty script, a cute romance, and a new, upbeat ending, this Little Shop of Horrors offers countless delights during its 94-minute running time.

This is a beautifully-shot film, and director Robert Redford (who also provides the voice-over narration) has paid painstaking attention to detail.

The latest offering from Edward Zwick, the director of "Glory," is the kind of movie that doesn't require much effort to surrender to and enjoy.

Pump Up the Volume, in addition to presenting an engaging story, has tapped into a universal truth about rebels with causes.

It's those moments and others and the way they are tied together by Shepherd's tongue-in-cheek narration that cements A Christmas Story as one of those rare must-see holiday movies, even for those who don't celebrate Christmas.

For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.

Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go.

Deep Water is a documentary, but it's also one part adventure film, one part Greek tragedy, and one part meditation on the role of the "hero" in modern society.

Not since "The Crying Game" has Jordan crafted as compelling a motion picture.

Into the Wild is a beautifully made motion picture and some of the segments (especially those with Hal Holbrook and those that transpire around "the magic bus" in Alaska) are powerful.

The sex is REALLY hot. Not hardcore pornographic (at least by my definition of the term) but close.

Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.

Emotionally challenging and honest.

It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.

What a horror film SHOULD be - dark, tense, and punctuated by just enough gore to keep the viewer's flinch reflex intact.

This is an offering for mature viewers thrown out amidst a sea of summer flotsam. The title, Elegy, is perfect for the material. There is much tragedy and truth in what the makers of this movie have brought to the screen.

Juno has a great heroine and is blessed by a screenplay that doesn't try to do too much and finds the perfect ending.

Atonement is effective at getting under the skin, and some audience members won't like that.

At times brutal, at times touching, the movie stands out as one of the better "prestige" productions offered for cinematic consumption during the waning weeks of 2007.

With its rapid pace, smart screenplay, and top-notch acting, this is one of the 2007 Oscar season's most appealing and compelling adult motion pictures.

Ultimately an uplifting movie because it is about triumph.

Despite being slow and deliberate, it is often compelling and occasionally riveting. As "The Lives of Others" was in 2007, this is the first memorable movie of 2008.

Adams shines brightly, reinforcing the image she projected in Junebug and enhanced in Enchanted and Charlie Wilson's War. At this time of the year, it's tough to find a more diverting way to spend 90 minutes in a multiplex.

There's a wit in Segel's writing that marks him as every bit Apatow's equal in this arena.

Like nearly any thriller, no matter how intelligently and tightly plotted, it is possible to poke holes in its fabric. But, as it's unspooling in the theater, it makes for a wonderful movie house experience. Here's a sleeper worth a few extra miles' travel to see.

When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.

The Edge of Heaven is marked by a number of remarkable performances.

Put simply, WALL-E is about as charming as movies get.

Wonderfully romantic and romantically bittersweet. It's not about forever; it's about now.

Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither.

Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.

The other actress to stand out is, unsurprisingly, Queen Latifa, whose intense screen presence makes her a force to be reckoned with even when she's simply standing in the background, not saying anything.

The result is magical and life affirming, and will enrapture those who are not scared away by the mention of "subtitles."

Milk feels like an important picture, but not in a way that makes it tedious to watch. There's no pretentious sheen to the proceedings.

Revolutionary Road is a fine motion picture, but it's not a good choice to lighten a burden or brighten a night. It rewards in the ways that only tragedies can.

There's no denying the film's power of compulsion and the sense that, when it's all over, it means something. Most viewers will be entertained and moved, and some will find their intellect aroused.

Aronofsky's directorial style is simple and spare. There are no flourishes or attempts to convince us that he is a master of his craft.

Considering the strength of performances given by the 25-or-so teenage actors portraying the students, it's amazing that none of them have previous experience.

More substantive than the average thriller/road movie.

The result is a sharp, insightful, charming motion picture.

Anyone who watches District 9 and doesn't think of Apartheid, Nazis, and Josef Mengele needs to spend some time reading a few history books.

The strength of the acting and the modulation of the screenplay transforms what could have been a run-of-the-mill Lifetime disease-of-the-week movie into something more insightful and intelligent.

The casting is perfect. Webb has chosen leads who are familiar but not overexposed, and who are on equal footing (neither overshadows the other).

This is a tense, well-crafted motion picture that keeps viewers on edge. It's an exhausting 130 minutes; many viewers will leave the theater feeling drained.

After the chaos of "Transformers: Revenge of the Fallen," it's refreshing to encounter a science fiction film that respects the intelligence and attention span of an adult.

Manages the task of being both heartbreaking and heart-warming.

Randy Newman's songs are catchy and are effective within the movie's context, but I can't see any of them having "legs" beyond the screen the way tunes from the earlier animated musicals did.

Dancing along a line just shy of the edge of brilliance, In the Loop possesses an incisive, take-no-prisoners comedic style that offers plenty of solid laughs while making a point about the stupidity, selfishness, and lack of awareness that exists within the highest echelons of government.

The tone is perfect; this is one of those rare films that, despite being rooted firmly in the world around us, is utterly absorbing and capable of reducing the immediacies of life into abstract thoughts in the back of one's mind.

Brothers is arguably the most successful remake of a foreign film since Martin Scorsese reworked "Infernal Affairs" into "The Departed" and won the Oscar.

The presence of so many low-key performers gives A Serious Man a very different, distinctly non-Hollywood vibe. The absence of familiar faces allows the Coens to fully immerse their audience in the time (1967) and place (the U.S. Midwest) of the story.

Toy Story 3 enhances the legacy of its brand while providing exceptional entertainment value for viewers of all ages, especially for those who favor the brighter, livelier 2-D iteration over the 3-D gimmick.

Reitman brings the same mixture of comedy and drama to this movie that he brought to "Juno."

In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.

Damon's prior appearances as Jason Bourne make him credible in this role.

As in all powerful films, the content unfolds onion-like, with each level being peeled back to show something fascinating beneath.

It's not comfortable but it is engrossing.

Balances character development with plot, and that's crucial to its success.

Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,

The best superhero movie since "The Dark Knight" (and far less serious in tone or approach), Kick-Ass earns its name in every way.

A Nightmare on Elm Street is tailor made for those who like their gore leavened with thought-provoking ideas - something that is a rarity in this genre.

Cyrus is affecting, but not in a clean, easily recognizable way. It is funny, but in a warped manner more likely to provoke unease than unbridled laughter.

The versatile actor brings the full weight of his talent to bear on a difficult role. DiCaprio has to hint at unpleasant secrets in Cobb's past while forging a bond with the audience. It's up to the performer to make Inception more about human beings than about special effects. He succeeds and that's one reason why this movie isn't only about challenging ideas and eye candy.

The Father of My Children is exceptional drama. Compelling and unforced, it shows sensitivity and evenhandedness in approaching a difficult subject.

Cholodenko, whose previous features include the pretentious "High Art" and the sudsy "Laurel Canyon," pitches The Kids Are All Right at right level - there's enough light comedy to leaven the melodrama and keep it from becoming overbearing.

A firecracker of a story - sharply written, superbly acted, and fast-paced.

This is not the first time Wright has shown his understanding for such things, nor is this the first occasion in which he has displayed a strong sense of comedic timing, but Scott Pilgrim vs. the World feels fresher and more inspired than his previous outings, and that makes it an excellent source of late-summer entertainment.

Flipped is Rob Reiner's best film in 18 years, and includes echoes of two of his most accomplished efforts, "The Sure Thing" and "Stand By Me."

The movie works not because of twists and switchbacks in the narrative, but because of the skill with which Cortés has conceived this singularly disturbing nightmare.

Eisenberg, one of those young actors who has existed just below the radar for several years now (he was the lead in both "Zombieland" and "Adventureland," not to be confused with one another), deserves an Oscar for this dead-on portrayal of a temperamental genius.

The look and feel of Black Swan, which captures the essence of a major New York ballet production, is one of Aronofsky's great successes.

The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.

The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous.

Delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy.

Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.

The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.

Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.

In some ways, it's a simple character drama, but the central conundrum disallows an uncomplicated interpretation. I was never bored.

The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.

Super 8 is in many ways a perfect summer movie: smart, exciting, heartfelt, and suffused with nostalgia.

Overall, Part 2 tells a more compelling and emotionally fulfilling tale than the one related in Part 1, although that could be a result of this movie having a conclusion - something its predecessor notably lacked.

O'Connor gives the film a dark, moody look, which is the best choice for so many roiling emotions. This is not a traditional stand-up-and-cheer fight movie; the undercurrents are too strong and deep.

From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights.

This is a deeply cynical movie and, in that cynicism, it finds truth.

The movie with which it has the closest relationship may be "Glengarry Glen Ross." The same sense of desperation, the same need to make the sale, permeates Margin Call. Both films are to some degree about the dehumanizing impact of money and both are driven more by characters than plot points.

Martha Marcy May Marlene offers a challenging, emotionally riveting experience, even if the conclusion dangles at the edge of an unresolvable cliffhanger.

The two most moving scenes require extraordinary performances from supporting players...Forster is as deserving of a supporting actor nomination as anyone I have seen this year.

With Hugo, Martin Scorsese has accomplished what few in Hollywood are willing to try: make a movie for adults that arrives without sex, violence, or profanity and earns a PG-rating.

It's neither glamorous nor erotic and director Steve McQueen has taken an unflinching and non-judgmental view of sexual addiction in Shame.

A meditation on the pain suffered by a mother when her child turns out to be a monster, We Need to Talk about Kevin is the perfect tonic for holiday cheer.

Director Stephen Daldry has fashioned an emotionally powerful cinematic testimony about that horrific late summer day.

Hazanavicius isn't just making a "silent movie," he is attempting to enter a time warp and craft something that would fool all but the most studious and scholarly into believing it could have been a lost film from a bygone era. If his tongue is sometimes a little in his cheek, that's all part of the fun.

It is a mystery and a courtroom drama. Above all, however, it is a tale of love and sacrifice.

The purpose of Bully is to educate and promote discussion. If the problem is not solved, there will be more Columbines and additional stories like Tyler and Ty's.

The Avengers kicks ass.

Enjoy this movie for what it is - the kind of motion picture that can cause Champaign-like giddiness - and don't obsess over how true-to-life this work of fiction is.

Moonrise Kingdom is lovingly crafted with an attention to detail that is breathtaking while, at the same time, it displays genuine affection for its young protagonists.

The Dark Knight Rises ultimately justifies its length (in fact, a good argument could be made for a longer cut) and the last 45 minutes is nothing short of spectacular. From the point where the narrative takes a leap of faith, it never lets up.

Parts of Ruby Sparks are glowing and gentle. Others are harsh. Still others are wrenching. The transitions are expertly handled, never seeming jarring or inappropriate. If the movie feels like two shorter pieces grafted at the middle, that's an intentional decision. The filmmakers give us something approaching a traditional romantic comedy before deconstructing it.

The truth can indeed be stranger than fiction and, in this case, were the story to have originated in the imagination of the screenwriter, it could rightfully be criticized as artificial and contrived. But, disturbing and unlikely as it may be, this stuff actually happened, and pretty much as Craig Zobel relates it.

The problem with End of Watch, a gripping police drama, is director David Ayer's stylistic decision to shoot nearly the entire movie tripod-less. Or, to put it another way, there's a whole lotta shakin' going on.

Recognizing that many of the movie's elements are lifted from actual events elevates the importance of what the movie has to say.

Skyfall can take its place alongside "From Russia with Love," "Goldfinger," and "On Her Majesty's Secret Service" as the best Bond can offer.

Ultimately, this is an engaging, uplifting, and life-affirming motion picture that reminds viewers that it is possible to do interesting things with a romantic comedy while still sticking to some of the conventions.

Lincoln paints a powerful and compelling portrait of the man who has become an icon. We don't need to see more of his life to understand how rare a figure he was - this window is more than sufficient.

Even some who generally enjoy gangster films may be turned off by this one, with its focus on dialogue over action and its harsh style.

A compelling contemporary thriller with the added benefit of also being an engrossing character study.

Les Miserables understandably cuts some of the stage production's numbers, but all of the major anthems are intact and wonderfully presented.

Despite the occasional brutality of the material, Django Unchained includes some of the best laugh aloud scenes of any 2012 motion picture, regardless of the genre.

This may sound depressing and, in a sense it is, but these things are part of life and Haneke conveys them with a simplicity that is heartbreaking.

The narrative is presented in a straightforward manner; Soderbergh doesn't employ any unusual chronologies. His style is frank, not quirky, and lends itself to a number of powerful images.

It's not as crisply directed, and the plot holes are easier to find, but Die Hard 2 is filled with the same sense of good-natured, wisecracking fun that infused the original.

Funny Games is not entertainment but it is an experience.

The Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.

Although the storyline is predictable, the intelligent dialogue and top-drawer acting more than make up for the possible deficiency.

Frequently funny and occasionally hilarious.

What Brown Sugar lacks in originality, it makes up for in charm.

While this outing will not challenge the likes of "The Natural" for the title of the best baseball movie ever made, it's a solid effort in its own right.

Works uncommonly well because of the effective manner in which it blends together its various elements: the WW2 prison camp setting, the courtroom aspects, and the issues of honor, racism, and redemption.

Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.

With its combination of intrigue, romance, and adventure set against a World War II backdrop, the movie has an undeniable appeal. Flaws aside, Enigma is engaging and ambitious.

Manages to entertain, even though it stays on the surface. It fails to deliver the hoped-for knockout, but also avoids the pitfall of an early-round collapse. While not attaining the greatness of its subject, it rises to a level somewhere above mediocrity.

It is at times serious and at times very funny. But it is always perceptive, and that quality, more than any other, is what makes it worth a recommendation.

For the briefest of moments, someone not paying attention might mistake Lantana for a mystery. -- Lantana is actually an examination of human interaction.

An enjoyable experience.

A courtroom drama which is sufficiently different and thought-provoking that I can recommend it with a clear conscience.

Perhaps the most impressive aspect of Green Dragon is Bui's recreation of Camp Pendleton, circa 1975 (filming actually took place in Camp Pendleton).

At long last, someone has crafted a worthwhile superhero spoof.

It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.

Happenstance represents an intriguing meditation on the unseen forces that no one can escape.