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.

Director John Dahl has fun with this material, filming the modern-day noir potboiler with such gusto that it's impossible not to fall under its spell.

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

The Host is a strange little movie: part creature feature, part social commentary, and part slapstick comedy. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.

Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.

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.

From a shock-and-suspense point-of-view, Halloween is the rival of Alfred Hitchcock's "Psycho." With only a few arguable exceptions (such as "The Exorcist"), there isn't another post-1970 release that comes close to it in terms of scaring the living hell out of a viewer... A modern classic of the most horrific kind.

The narrative is little more than a flimsy envelope -- it's the men and women who are sealed within that make Sling Blade worth watching.

The film's success or failure depends almost entirely on a viewer's ability to relate to and become involved in the lives of the characters. We are with them for less than a week and, during that short time, we come to understand the lifetime of hurt and misunderstanding that stands between them.

There's more to the film than nostalgia; it also offers insight, and that's what makes it worth viewing on the big screen rather than waiting for its Discovery Channel premiere.

Although imperfect, it's engaging, thought-provoking stuff.

The Man Without a Past is a modern fairy tale. It certainly is divorced from reality. Despite this -– or perhaps because of it -– it's a satisfying motion picture.

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.

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

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.

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.

An engaging and powerful motion picture, every bit the equal of Merchant Ivory's best work, and certainly the most emotionally-wrenching tale they have brought to the screen.

Begins almost as a nostalgic excursion, but quickly detours into a powerful and telling story that examines forbidden love, racial tension, and other issues that are as valid today as they were in the 1950s.

This is a powerful tale of crime, guilt, and punishment -- a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.

Summer Hours attracted two of France's acting luminaries, and their presence elevates the material. Charles Berling has the central role; the movie is largely told from his perspective. Juliette Binoche, with blonde hair, has a secondary part.

Looper is a tremendous motion picture experience. Not merely a "very good" one, but a great one.

At times compelling, at times devastating, and at times long-winded.

Jim Sheridan skillfully interweaves a myriad of subplots and themes into a fast-paced, cohesive whole.

Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.

Chilling and creepy, and there's no denying that the most celebrated aspect of the film -- the Clarice/Hannibal connection -- could not have been accomplished with greater skill.

Fascinating and satisfying the way the diverse threads are knitted together into a single tapestry.

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.

Philip Seymour Hoffman is in fine form as a man teetering on the edge.