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.

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

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.

Possesses the rare ability to make an audience laugh (and laugh hard) and cry, without ever seeming manipulative or going hopelessly over-the-top.

For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.

The result is an effective portrait of a damaged individual uncertain about the meaning of love and commitment and the two key relationships in his life that teach him lessons about both.

Bright Star is a nice ode to the poet, the love of his life, and the period in which he lived.

It's not comfortable but it is engrossing.

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.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

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.

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

Where Happiness shines, however, is in the series of extraordinary performances given by the members of the diverse ensemble cast. Leading the group is Dylan Baker, whose turn as Bill is astounding.

I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.

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.

In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.

Imperfect, but magical nonetheless.

The film isn't deep or thematically rich or filled with amazing characters. Instead, it's an excursion into song and dance, and works admirably on that level.

A charming piece of cinema that takes several comfortable formulas and expands upon them in ingenious and emotionally-satisfying ways.

Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.

Not as corrosive as Russell's debut feature, "Spanking the Monkey," it's just as wild, just as strange, and even funnier.

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.

There is something special about the production, with its brash, vivid style, indelible performances by movie icons, and bold mixture of violence and comedy, romance and tragedy.

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.

The film is constructed in such a way that suspension of disbelief isn't too hard because there's something universal in what Allen explores. Like Santa Claus, we know it's not real but the idea is so appealing that we go along with the fantasy.

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.

Ultimately, Bad Education must be considered to be a minor effort from a major director.

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.

The transformation undergone by Michelle Williams to play this role is nothing short of astounding.

There is sadness and humor here, but all understated.

It's ironic that a film with this title should be among the most vital, alive, and challenging cinema experiences of the year.

Despite the many laughs Love and Death offers, it never takes cheap shots. It has a vibrant, beating heart - and that makes the comedy all the more worthwhile.

Features minimal dialogue. It is mostly about mood and images, and it moves at a glacial pace.

There's something old-fashioned about Everlasting Moments. Although the shots are beautifully composed, they are classically represented. Both the filmmaking methods and the storytelling are uncomplicated.

Melancholia represents von Trier at his best and worst. Visually and thematically, Melancholia is a rich motion picture, full of nuances. Unfortunately, in his pursuit of an artistic vision, von Trier has thrown logic, physics, and coherence out the window.

One of the best-constructed, funniest, and most clever comedies to grace motion picture screens in recent years. It's outrageous, offensive, and even a little sick -- and all the more enjoyable because of it.

Whitmore's Brooks is a brilliantly-realized character, and the scenes with him attempting to cope with life outside of Shawshank represents one of the film's most moving -- and effective -- sequences.

Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.

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.

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

In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.

Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.

At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.

A touching, well-made motion picture whose only real flaw lies in the overfamiliar storyline.

Miyazaki may not have achieved the level of "Spirited Away," but he's still ahead of the curve.

The Simpsons is interested in being a family film, although this is one of those rare animated occasions when adults are the primary audience. I, for one, couldn't be happier.

A drama about isolation and communication, The Band's Visit is characterized both by strongly delineated characters and low-key comedy. The movie is not lightweight but it is at times lighthearted.

The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.

The tone is lighthearted and the performances are effective but, in the end, the feature is so inconsequential as to leave no lasting impression.

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

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.

Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.

It affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting. When the season is over, Minority Report will more than likely stand out as the best picture to grace multiplex screens during the Summer of 2002.

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.

Although the majority of the movie focuses on the interaction between Mark and Cheryl, there is a third character in the mix. Catholic priest Father Brendan, played by William H. Macy, belongs to a liberal wing of the Church found only in movies.

Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.

Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.

Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.

The movie's point, which is impossible to miss, is that it's hard being black & gay in America and, while there's undoubtedly truth in that sentiment, it doesn't necessarily make for a compelling motion picture circa 2011.

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

This role could represent a career performance for Cheadle, whose forceful and multi-dimensional portrayal keeps Hotel Rwanda at a consistently high level.

It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.

Coriolanus deserves to be seen, however, especially among those who enjoy Shakespeare without considering themselves purists. It's violent, bloody, fast-paced, and powerfully acted. And, if the language represents a barrier of sorts, it's worth remembering that some of the greatest phrases in history derive from Shakespeare's texts.

This is a fine motion picture with a couple of superlative performances. It is arguably the best, most honest bio-pic of the year.

The first is the best. When it comes to this kind of thriller, no movie has been able to top Jaws, although many have tried. And, as the years go by, it seems increasingly unlikely that anything will come close.

In the wasteland of August releases, this entry shines like a beacon lighting the way to a theater.

The movie's action largely takes place beneath the skin. The pace is slow but not glacial, yet Claudel demands patience. Ultimately, I've Loved You So Long is uplifting, although one might not expect that from the thematic material.

Character development is of secondary importance to narrative and theme. As a result, we never really get to know any of the film's protagonists.

Tells a good, intelligent story that keeps us interested and involved.

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.

It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.

This is a simple story of human drama that provides an incentive to spend a couple of hours in a movie theater during a spring that has not provided many such reasons.

Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.

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.

This film is sometimes funny, sometimes joyful, and sometimes poignant, but it's always warm, wonderful, and satisfying. Cinema Paradiso affects us on many levels, but its strongest connection is with our memories.

From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.

Mamet illustrates that he can work as capably from someone else's script as he can from his own, and that his talent as a director is not eclipsed by his ability as a writer.

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.

Affliction is for anyone willing to take the journey into the heart and soul of a troubled man on the edge.

Life of Pi is a curious juxtaposition of the mundane and the majestic; a film that strives for something grander than what it perhaps achieves.

One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.

This is one of those unusual films that is capable of enthralling those under twelve while not sending older members of the audience rushing for the exit.

My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.

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.

It is a triumph, and one of 1998's few "don't miss" motion pictures.

"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

The arrival of the uncut Godzilla is a great boon to monster movie fans, but will have limited appeal to others.

In essence, Control is a standard order biopic of a tormented artist. What makes the film interesting, if not unique, is the style in which director Anton Corbijn has elected to present it.

It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.

Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.

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

Grabs you by the throat and digs its claws in deep. From the moment that the unwitting viewer tumbles into the realm of Lawrence Tierney's gang of eight, they are hopelessly trapped there until the final credits roll.

It's a dark and revealing movie, and, while the ending may not be upbeat enough for those expecting mainstream fare, it offers a measure of hope and a catharsis.

The director is a poet of images.

Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.

From an historical perspective, the story is interesting because it shows a different side of the war than what we're used to observing in motion pictures.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

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.

Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.

It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.

The critical question for the movies' producers is whether Harry will be as popular now that his legions of stalwarts know how it all ends. The smart money would be on answering that question with a resounding "yes!"

There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.

Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.

An accomplished film that uses dark humor to leaven its serious topics.

Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.

Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.

The storyline is more interesting and ambitious, the characters -- little more than appealing types in the original -- are allowed to grow and develop, the special effects are more mature, and the tone is deliciously dark and downbeat. [Special Edition]

Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.

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.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

What Linklater does exceptionally well is open the door on an era seventeen years in the past. This is 1976, from the music and cars...to the people and their attitudes. You'd have to climb into a time machine to get a better view...However, this is light entertainment -- nothing groundbreaking or even especially noteworthy.

Viewers will discover that the film has something to offer nearly everyone, whether they are a novice or a black belt in kung fu cinema.

A flawed but entertaining (and perhaps informative) tale.

As profound and intelligent as it is moving, and that makes this memorable motion picture one of 1996's best.

Christian Bale continues to amaze with his ability and range.

Happy Feet ends on an upbeat note with singing and dancing, but the weaknesses that precede it deflate the euphoria.

Has as much depth as it has energy and action.

Before Sunrise speaks as much to the mind as to the heart, and much of what it says is likely to strike a responsive chord -- a rare and special accomplishment for any motion picture.

Perhaps the most impressive feat of this film is sustaining white-knuckle tension even though the chain of events is well-known.

The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.

Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.

As is usually the case with a well made sports movie, you don't have to appreciate the particular sport in order to enjoy the movie. 8 Mile has not been made solely with fans of hip-hop music in mind.

As with most political thrillers, The Ghost Writer emphasizes plot development and atmosphere over action. It's an "adult" thriller as opposed to one designed for viewers suffering from ADD.

The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.

A Bug's Life, like “Toy Story,” develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure.

A Single Man tells us about love, isolation, and sorrow, but never makes us feel any of those things.

More substantive than the average thriller/road movie.

Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

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

The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.

An engaging romantic comedy that would have been better if the audience wasn't constantly being distracted by mediocre video quality and jerky camera movements.

An infectious celebration of life and love.

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.

The final half-hour of Broken Embraces is littered with facile contrivances and plot turns worthy of a soap opera. It's almost mystifying, and more than a little frustrating, to watch a movie cruising at such a high level suddenly suffer a complete breakdown and lose too much altitude.

A bleak, black satire that occasionally strays all the way into "Pulp Fiction" territory.

If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.

Offers the prospect of seeing beyond the stereotypes that plague Native Americans in even the best films.

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

A workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. But there's nothing extraordinary about the movie.

Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack.

Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.

The acting is uniformly superb.

The 30-minute finale, which includes a tense stand-off with Ben's gang, is masterfully executed. It's perfectly paced, suspenseful, and ends in a way that's both appropriate and satisfying.

Jane Eyre is good enough to provide lovers of classic literature with a reason to venture to theaters without being subjected to a salacious or demeaning adaptation.

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.

I lost track of how many times I checked my watch during the nearly three interminable hours it took Heat to play itself to a predictable conclusion of a chase scene and a shoot-out.

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

Dreamgirls is good and at times it touches greatness.

It may not be frivolously engaging but it is compelling.

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

Menace II Society has a devastating impact. Few films possess the power to keep an audience sitting in stunned silence after the end credits begin rolling, but this is one of them.

Starts slowly, but builds to a satisfying conclusion.

The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

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

It's fascinating to see how life imitates art; the closing months of Tolstoy's life read like something he might have penned. One need not be familiar with "War and Peace," "Anna Karenina," or anything else written by the Russian great to appreciate the movie, however.

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.

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

Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.

This is an unusual source of entertainment.

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.

It's a powerful, affecting tale that uses scenes of the young couple's new love as a counterpoint to Iris' final days - memories of a brightest spring echoing in the darkest depths of winter.

Witness states its position about clashing cultures with eloquence.

Ultimately, however, A Dangerous Method is less about the formative years of psychotherapy and two of its progenitors than it is about a rule-breaking extramarital affair.

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.

Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.

Reese Witherspoon's unglamorous, understated supporting work recalls the kinds of films she made before becoming a movie star. Other recognizable faces include Sam Shepard, Joe Don Baker, Michael Shannon, and Sarah Paulson.

It's a deliciously amusing and sometimes surprisingly poignant look at the difficulties of being a 15-year old outsider whose chief goals in life are getting laid and making sure his parents don't split up.

What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.

An enjoyable, although not ambitious, holiday outing.

The result, regardless of how it was arrived at, is gutless.

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

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

Likely to bring a smile to your lips and a bounce to your step.

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.

It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.

The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.

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.

It's bland as often as it is affecting, and presents little that's new or original.

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.

This film is an autopsy of a family that has been sundered by the death of the father and primary care-giver.

The two actors, Daniel Day-Lewis and Emily Watson (Breaking the Waves), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction.

Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.

The Muppets is a rare family film likely to appeal more to parents than to their offspring.

The problem with An Inconvenient Truth isn't the message; it's the messenger.

This is a film of powerful ideas, impressive set design, and compelling performances.

It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.

It has been said that a Monty Python movie is only successful if it offends everyone in the audience at least once. By that measuring stick as well as nearly any other, The Life of Brian is an unqualified triumph. It makes us confront our foibles and laugh at them.

With its appealing blend of animated comedy, romance, and adventure, Shrek 2 follows the formula of its predecessor while maintaining enough originality not to come across as a direct copy.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.

Blue Velvet is David Lynch in peak form, and represents (to date) his most accomplished motion picture. It is a work of fascinating scope and power that rivals any of the most subversive films to reach the screens during the '80s.

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.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.

There's something delightfully old-fashioned about Steven Soderbergh's Side Effects. It's the kind of thriller that Alfred Hitchcock might make if he was still alive and active today.

This combination of storytelling, singing, and corny comedy is sometimes a little too slow and long-winded for its own good, but at least the aftertaste isn't bitter.

We've seen this story so many times that it's starting to wear thin. In many ways, Kicking and Screaming is mildly enjoyable, but all it really does is go over old ground with new characters.

Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.

Despite being a little rough around the edges (as is often the case with the work of maverick documentarians), This Film Is Not Yet Rated is more than just an angry diatribe against the MPAA.

A pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize.

As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.

As a documentary, this movie has the same problems as all of those in Moore's oeuvre; as a polemic or a visual op-ed piece, it's an effective piece of filmmaking.

A compelling, thought-provoking, and unsettling drama.

The humor - and there's enough of it that Tabloid could be categorized as a comedy - is unforced, arising as it does out of these truth-is-stranger-than-fiction circumstances.