As close as anything could be to a light Mamet comedy.

A heartening and poignant affirmation of the transformative power of music.

The result is an odd, occasionally engaging but often cacophonous mishmash.

Warren Beatty's uproariously rude Bulworth is 90% triumph.

Nothing is easily resolved in this complex drama, which makes it all the more honestly moving. More than anything, this is a film about a woman on a journey of self-discovery, finding her way gingerly.

Secret isn't the usual romp, but it's Almodovar's most committed work in years. [7 Mar 1996]

Even at its best, Ride never survives its shaky opening hook.

The story feels believable as a witty chronicle of human behavior, in contrast with the self-consciously satirical style of some indie films and the far-fetched heroics of big studio fare.

A tiny treasure: grown-up, tight, sexy, suspenseful and with a mildly ambiguous wrap-up that stimulates the mind rather than confusing it.

No, it isn't the slick and unfocused "Anywhere but Here," where mom and daughter choose Beverly Hills. Instead, it's the more modest and in most cases preferable Tumbleweeds.

This being Irving, the story straddles the sweet and the creepy.

Paradis is a most striking subject, but the movie is a winner as well, starting with a story full of black-comic possibilities exploited fully by the great French director Patrice Leconte.

A quagmire that reportedly has undergone multiple edits to reach its current incomprehensible state.

Viewers who like clean storytelling may not be happy. Those who savor ironic wrap-ups will be.

Those looking to get a raucous laugh should say "I do" to Bridesmaids.

More fresh than retro, The Muppets bursts with charm and cheeky humor.

Haunting and inspiring film.

A cool and clinical reportorial remembrance whose very title reminds us who Solanas was. [3 May 1996, p. 10D]

A notably undynamic treatment of Protestant Elizabeth I's ascension to the British throne.

The film grows on you, but more substance and less calculated quirks would have been a royal treat.

Just as funny, sweet and engaging as the first film starring the big galoot.

This incarnation is funny, quirky and clever, with some mesmerizing action sequences.

The very definition of charming.

Bruno Coulais' musical score provides an evocative counterpoint to the often dazzling photography. A scene featuring diving sea birds and whales moving in concert with the rhythm of the waves is stunning.

More coming-of-age story than biopic, this Guevara odyssey is a transformative adventure well worth watching.

Little Children maintains much of the power, humor and nuance of Tom Perrotta's wonderful novel, but seems unsure if it's a satire or a serious drama.

Director Dominik Moll knows how to make a gruesome-free thriller and even manages some dark laughs as he turns the screws.

A cautionary tale very well-told.

Just a good time at the movies, but it's still a smarter two hours than most "good times" are.

Such pure, naked joy is utterly contagious.

The final third is slower until a somewhat contrived finale that's still the funniest thing in the movie.

A fresh-slant Vietnam picture in which lead Tom Cruise achieves indisputable greatness, July is otherwise a "more often than not'' achievement. But though it's as full of itself as Stone's watchably windy Talk Radio, the film's roundhouse punches propel you into remote Mike Tyson-land when they connect. [20 Dec 1989, p.1D]

Like a lot of meds, it loses its effectiveness over time, and you'll build a resistance to Effects eventually, particularly when it dissolves into a standard crime flick.

At its best, it's a gentle meditation on mortality. But at weaker moments it feels meandering and strangely empty.

Moviegoers of rarefied sensibilities will easily identify this anti-captain-of-industry as a "typical Eric Stoltz role," just as moviegoers of extremely rarefied sensibilities will pick up on Kicking's "typical Chris Eigeman role." [23 Oct 1995, Pg.06.D]

This movie is more wistful and winking, though it's obvious Mario is still working out emotional baggage with his tyrannically driven old man.

About a Boy is a rarity in many ways. It's a well-written, witty film whose memorable characters grapple with the nature of family, love, friendship and despair. Even its soundtrack, by Badly Drawn Boy, is perfectly pitched.

There is no question that the organization is a riveting subject for a film.

Huston's movie seems to disappoint some who've read the novel, but the forlorn humanity that triumphs over the depravity and poverty is unforgettably affecting. [13 Dec 1996, p.1D]

Serves up an irresistible helping of delicious fun with writing that is tart and sharp and a story infused with sweetness.

Flashily nihilistic Killers is easier to admire than love, but credit Stone for putting it on the line with a yarn tailor-made for his hopped-up vision of media-engendered white-trash immortality. [26 Aug 1994, p.1D]

Highly entertaining and informative.

Frankenweenie is a love story between a boy and his dog. It is also a beautifully crafted homage to classic horror films, a study of grief and a commentary on the mysteries of science and those who narrow-mindedly fear its advances.

Black Hawk turns nightmare into great cinema.

A touching story of hope, vitality and art rising from the bleakest conditions.

A monumentally moving experience, from the powerful acting by Javier Bardem to the evocative music, composed by the director, Alejandro Amenábar.

Kidman gets kudos for giving the enterprise a touch of class, while the film gives the studio's library a rare pedigreed addition.

A Hitchcockian chase...A crowd-pleasing airport-pursuit pic. [27 Dec 1995, p.D1]

This year's wittiest animated adventure saga.

De Niro's widely praised performance is like the rest of the film: competent, a product of hard work and borderline mechanical. I like much of Awakenings, including several supporting performances - but like Big, it left me just a little cold. [20 Dec 1990, p.5D]

The film is easier to admire than to fully grasp or be moved by it. Still, it's worth surrendering to the dream.

The dialogue, delivered mostly in Southern accents, is intended to be funny and fresh, but much of this Western-influenced sci-fi adventure story feels reheated.

Tucker is the best Capra movie since Capra quit making them himself. [12 Aug 1988]

Forest Whitaker is astoundingly multifaceted and convincing as Ugandan dictator Idi Amin. In the performance of his career, he fully inhabits the part of the barbaric and charismatic ruler.

In a season filled with dark-themed films, it stands out as an elegantly mounted, surprisingly humane but terrifying horror thriller well worth seeing.

Despite dashes of droll dialogue from screenwriter Ted Griffin, the remake aims for cool but instead gets chilly.

A promising debut by young writer/director Jacob Estes, this story of a botched revenge plot still isn't likely to break out even in multiplex August dog days.

Bully forces audiences to face actions that are unthinkable, inexcusable and excruciatingly sad. It offers no solutions, only the testimony of brave youths.

Mongol is quality escapism: an exotic saga that compels, moves and envelops us with its grand and captivating story.

Stately but static. [23 December 1997, p.3D]

Pooh succeeds by embracing much of what modern films (including Potter's) have largely forgotten: old-fashioned movie pleasures.

This is a smart and often tense work whose ultimate merit isn't completely calculable now.

Mostly avoids being cloying but flirts with being precious. Yet Boyle is enough of a stylist to make it all passable. It's one of those films for which fans and detractors can see the others' viewpoint.

After so much frenetic kicking and grunting, you may feel like you're in a stupor, too.

If the script were half as witty as its production design and Danny Elfman's score, the film might be a classic; instead, it recalls the “Beetlejuice” half that doesn't have Keaton. [7 Dec 1990, Life, p.4D]

His (Cameron) movie may not be perfect, but visually and viscerally, it pretty well is.

The distanced result, screen-adapted by playwright Christopher Hampton, never quite overwhelms you. [21 Dec 1988, Life, p.1D]

Tightly constructed and controlled.

A robust family comedy that saves its wildest moments for a climactic "get-together."

In the tautly terrific thriller In the Line of Fire , Clint Eastwood toys with his own grizzled-vet screen image like a frisky kitten with a yarn ball. [09 Jul 1993 Pg. 01.D]

True-blue Ford keeps 'Clear' out of danger. [3 August 1994, p.D1]

Farmiga never seems to strike a false note in any role, but this is perhaps her most reflective and multi-layered performance.

Though the narrative is a conventional one, the well-acted, suspenseful story deals in fascinatingly murky morality and mines intriguing material from a historic and complex city.

Middle-aged romance can be a dicey prospect. And it gets more complicated when children are in the picture. But it gets more complex still if the "child" is actually 21, and creepily meddlesome.

Chances are, the more you love classic cinema, the more you will find Gods is your cup of tea.

Ultimately grim, Liam is ripe in humanity --and even comedy.

For a movie about the power of imagination, Bridge to Terabithia is not as clever as you would hope.

It captures an authentic feel-good spirit and inspirational message that most Hollywood movies barely approximate.

Dramatically moving and good-naturedly humorous, it transmits a sharp picture of humanity that inspires both awe and laughter.

Epic in nearly every way, The Hurricane has the power to blow you away.

You'd be hard-pressed to find a purer expression of rapture in a film this year than the one that opens Billy Elliot.

The History Boys is an erudite, sharply written film with consummate performances, but its origins on the stage are all too obvious.

Emotionally and viscerally compelling and retains a suspenseful, edge-of-the-seat quality.

Who would have thought a fire-breathing monster could be one of the most adorable on-screen critters since Babe?

Invictus, which is Latin for "unconquered," gives the poem several meanings in the context of the film. It also applies to Eastwood, who, as one of America's greatest storytellers, finds enthralling tales and fashions them with finesse and an indomitable spirit.

Joaquin Phoenix gives a superbly raw and excruciatingly vulnerable performance.

Occasionally very funny, the picture tends to coast on its cosmetics. A first-rate script might have made it a twisted masterpiece.

It certainly stays alive in this spare and intriguing film directed by Jonathan Demme, who has helmed two previous Young concert films.

A revelation: funny, fascinating and insightful.

A high-octane mind game best enjoyed by following a key character's advice: "The Source Code is a gift. Don't squander it by thinking."

Naji is an expressive actor, and so are the wonderful young non-pros who play his children.

Teacher's Pet is no "Finding Nemo," nor even "Lilo and Stitch," but it is an enjoyable family film -- particularly for younger kids -- during a time of year when such fare is lacking.

Less ambitious and more narrowly focused than the CIA saga "The Good Shepherd," Breach is a compelling, intelligent drama.

Just be glad that Hanks and Zemeckis toiled mightily to pull off at least two-thirds of a remarkable achievement.

This meaty Irish stew isn't arty or elliptical. It ought to connect with anyone who's survived sibling tension or romantic fence-sitting. [9 August 1995, Life, p.5D]

This has to be the raunchiest full-length animated feature since Fritz the Cat, which got an X rating in 1971.

The look of the film, shot on digital video, is haunting and gritty. The cleaner, prettier look of 35mm would have detracted from the immediacy and sense of foreboding created in this artful blend of sci-fi and pseudo-realism.

Captivating and multifaceted.

Definitely not for everyone. It's a very bleak story with uneven pacing and a narrative whose jumps in time are confusing and occasionally infuriating. But the post-apocalyptic mood blends well with its uniquely stylized look and surreal story.

The result can be palpably unnerving.

Oscar-winning animator Brad Bird seems to have accomplished the impossible with the fourth Mission: Impossible installment by injecting the 15-year-old series with newfound, breathtaking energy.

One of those movies in which pacing, dialogue and the right actors enliven a familiar story.

This tale is both redemptive and tragic, if occasionally melodramatic.

The soundtrack is mostly Elvis tunes, and Stitch even does an adorable impersonation of the King. As Elvis might put it, you can't help falling in love with Lilo & Stitch.

This gritty examination of physical and psychological wounds offers a superb performance by Marion Cotillard, who speaks volumes with her eyes, and a less convincing one by her lead co-star.

If it's challenges you're after, forget cracking "The Da Vinci Code." Wordplay captures the exhilaration that comes from navigating the ins and outs of complex puzzles.

It's not nearly as enjoyable as one of his rambling, meditative songs, though perhaps it is aspiring to be the cinematic equivalent. Give me "Tangled Up in Blue" any day over this incoherent, tangled trip.

Taut, tightly paced and thrilling, with some of the best chase sequences -- whether by foot, taxi or Jeep -- in recent memory.

Despite an abrupt ending and the worst title of the year, Arbitrage manages to leverage real tension from its veteran stars in one of Hollywood's first pedigreed films of the fall.

Emphasizes backing up wishes with hard work. That proviso is a thoughtful message for young moviegoers.

Unapologetically brutal and unencumbered by much plot, Raid is the year's most turbo-charged film.

With near-Swiss precision, director/producer Jay Roach and his writers make sure familiarity breeds hilarity.

This is a tale not only of epic disaster but also of resilience. The Impossible is a nimbly acted drama that is at once a stellar visual achievement and a life-affirming story of familial love and courage.

Though Weaver is by all accounts (mine included) in the real-life “none-nicer'” class, I've always suspected she might be great as a shrew. She is. [21 Dec 1988, Life, p.1D]

A 2-hour classic wrongfully stretched into three.

Worth seeing not only because it's a highly effective thriller, but also because it's a finely tuned evocation of innocence at the mercy of adult cynicism.

Riveting and darkly comic Super Size Me is a whip-smart documentary.

Watching this movie, it seems to be the next level down from great -- maybe too episodic. But it burns in the memory weeks after you see it.

Though occasionally visually inventive, Kung Fu Panda is a disappointment when it comes to matters of simple black and white: the script.

McKay's performance is a revelation. He nails Welles' imperiousness, charm and vocal cadences, and even bears a strong resemblance to the iconic actor/director. He is thoroughly convincing as Welles and electrifies the screen when he's on it.

It is smart, witty and blessedly unpredictable.

May be far more ragtag than swashbuckling, but the film is sure-footed, witty and zany fun.

The match winners and losers may be preordained, but these modern-day gladiators bleed plenty of real blood.

The movie itself IS dull, however. The characters never engage our interest, and the relentless violence grows monotonous.

Droll mild amusement.

Preposterous to the extreme.

This slice of American life, as seen through the eyes of Palestinian immigrants, is nuanced, engaging and authentically observed.

Cars is a classic American tale firing on all cylinders and fueled by organic emotion and a lively sense of adventure.

Mostly, it's just wicked fun.

Stands apart for its raw, quiet emotion and its shattering sense of truth.

Rarely does a first-time director make as auspicious a debut as Scott Frank has done with the haunting, engrossing and intelligent thriller The Lookout.

Director Todd Phillips (Old School) has a knack for extreme scenarios and outside-the-box casting. He has made a movie that is consistently funny from start to finish.

Breakdown exploits so many traditional thriller situations that any suspense fan vet can easily devote a hand to counting off the predecessors it plunders. [02May1997 Pg 12.D]

A first-rate office comedy of prickly exchanges.

It's a tough entry into the tough black-comic genre; don't be surprised if it becomes a classic. [31 March 1989]

This is a rare twisted crowd-pleaser for longtime fans as well as novices -- or for those that don't know an arachnid from an insect.

Ray could not have been made without star Jamie Foxx.

There's a lot here to feed crime-fiction enthusiasts.

A mesmerizing look at the mythic quality and anarchic spirit of the irreverent and rabble-rousing journalist.

It isn't really dull (only dulled), and the leads are remarkable; one could, in fact, lavish a lot more praise if this labor of love weren't burdened by the year's dopiest movie wrap-up. [23 Nov 1990]

In a watershed year for black filmmakers, Singleton has made the punchiest feature debut in recent memory. Those who complain that Lee's characters tangle up his plots will savor Singleton's flawlessly crafted edges. [12 July 1991]

Carell accomplishes the task of being sweet-natured without becoming cloying.

Takes a fascinating chapter in Danish history, little-known to general audiences, and presents it engagingly.

No situation could be more human, and it's one the youth-dominated film industry rarely touches.

Though his film is like no other baseball movie, it may remind you of Paul Newman's hockey comedy Slap Shot: a knowing look at sport's underbelly - punctuated by jelly-belly laughs. [15 June 1988]

Even if a lot of adults have problems following this picture 100%, look for computer-savvy teen-agers to guarantee this sometimes original but too often derivative time-killer a shelf life.

You get the sense that there's probably more to the story than you get here. But the movie's moral will soon be indelible: You just can't fake it in the Internet age.

But expect a logical plot, and you'll walk out of the theater with a host of questions, mostly concerning procedural points of the alien attack.

Forget "Twilight." Fans of vampire movies are not likely to see anything more graphic, extreme or twisted than Thirst.

Notes on a Scandal may be disturbing, but it is a potent and captivating account of misconduct and betrayal.

At its best, the movie is coldly clever with a few brilliant warmer moments - as when someone drops an Alka Seltzer into the tank to soothe the Brain. [14 Dec 1995]

This dark comedy comes off more giddy than gritty.

Impressive yet always self-conscious, Perdition has more class and less sass than any movie in a while.

It's hard to recall the last movie that has left such an emotionally searing question dangling in the mind: "What if ... ?"

Think "Animal Farm" redone as Ant Farm. [2 October 1998, p. 11E]

There is a compelling ethical question raised skillfully that will haunt viewers. The poignant conclusion probably will incite debate.

Almost as impressive as Tatum's moves are his comic flair and breezy grace. He proved his comic talents earlier this year in "21 Jump Street" and shows them off winningly here.

Richard Jenkins and Bradley Whitford are particularly funny in their middle-management roles.

Depp deserves kudos for fashioning an original and outlandish if occasionally menacing character.

Quinceañera is a spirited and poignant exploration of the bonds and challenges facing a Latino family and the pains of a community undergoing a transition of its own.

A rich gem expertly told in a surprisingly scant 95 minutes.

Spectacular special effects, superbly crafted action sequences, plenty of humor and terrific performances render it a cut above most summer blockbusters.

With its complex look at storytelling, imagination and the teacher-student dynamic, In the House is an elaborate cinematic fresco.

Earnest and understated, Gran Torino is an unflinching examination of themes that have fascinated Eastwood in most of his recent films: family, war, loss, faith and unexpected human connection.

A moving documentary that informs, entertains and inspires.

One of the film's strengths is that nobody -- male, female, gay, straight or Jewish mother -- is reduced to stereotype.

Fortunately, a movie that needs some levity gets a comic boost from William H. Macy as a fictional racing handicapper from the golden days of radio. As if training a horse, Macy cues us to laugh every time he's on screen.

Shot in semidocumentary fashion, it builds to a more visceral climax than one initially expects. [26Nov1997 Pg.09.D]

If you've watched the BBC series "Planet Earth," then Earth will seem like a familiar, if stunning, global rewarming.

A rousing spectacle.

Ultimately, this film is more interesting than rousing; missing is a John Ford-ian wealth of idiosyncratic characters. [9 Nov 1990, Life, 4D]

Good Hair is cause for hope that Rock continues to make documentaries. His style is lively, smooth and up-to-date, like the most coveted 'do.

Light as a feather. [8 March 1996, p.D1]

This wryly funny take on the classic ghost story, with its tributes to horror thrillers from "Halloween" to "Friday the 13th" and rich cast of characters, has distinctive Tim Burton-esque visuals, and a welcome dearth of potty humor.

Hellboy's cheeky attitude and snarky dialogue, specifically Perlman's snidely funny lines, are the highlights.

It's equally endearing as a sweetly funny romance between two likable oddballs and as a low-tech time-travel thriller, and has something profound to say about making the most of the present.

All three actors give it their all, but Monaghan stands out with a sexy yet oddly down-to-earth variation on the Midwest girl gone wrong, thanks partly to a dark dysfunctional family secret.

Every performance in the film is flawless.

This sci-fi thriller has an engrossing plot and a strong cast of fully drawn characters. There's even a sweet youthful love story. In other words, it's a summer blockbuster firing on all cylinders.

War Horse will likely take its place alongside beloved family films. But that doesn't mean sitting through it is pure pleasure. It's a long slog at almost 2½ hours, and occasionally it resorts to obvious sentimentality. At times it's hard to escape the sense that we're watching "Saving Private Ryan"-meets-"The Black Stallion."

A documentary that dissects the essence of comedy as well as showcases outrageous improvisational humor.

Easy A not only makes the grade, but it comes in close to 100%.

With Halloween bags still brimming, it's an ideal time for the inventive candy-colored fun and wicked humor that is Wreck-It Ralph.

If Martin Scorsese's staggeringly ambitious one-of-a-kind finally has too many flaws to be great, it has as much greatness in it as any movie this year.

Even when there are lulls, the emotions seem authentic.

A chilly oddball that's easier to admire than love.

Few filmmakers of the past 20 years have mesmerized as much in their use of crisp, color-drenched photography.

It's also as good as "Out of Africa."

This is one inspiring movie despite extremely tricky subject matter -- better than "Shine" and among the most affecting ever made about co-existing with mental demons.

So many movies try to capture human relationships and fail miserably. A few come close. Your Sister's Sister nails it with grace, humor and winning charm.

Fassbender's portrayal is truly haunting, and when he sobs, dramatically unraveling, it's clear he's imprisoned by his physical urges.

You could be cynical about the first movie produced by the coffee colossus Starbucks. But there's nothing cynical about Akeelah's story of courage and determination.

A good-natured and engaging fantasy/romantic comedy in the tradition of "Heaven Can Wait" or even "Topper."

This is economy of style that Americans get only in Woody Allen movies -- and even that's not a guarantee.

A Johnny Cash biopic equally packed with music and frustrated love, Walk the Line goes from compelling to enthralling.

Proof that Allen, who many have dismissed with his last few forgettable films, is still a filmmaking force.

Part of the appeal is the underlying theme of the torch being passed between generations. Think how disappointing it would have been had Dana become an insurance actuary instead of a surfing filmmaker.

This time, he (Ang Lee) has Kevin Kline, Joan Allen and Sigourney Weaver trudging through ice both emotional and literal -- an omnipresent metaphor but not one unduly sledgehammered. [26 September 1997, pg. 1 D}

This fun-filled adventure avoids formula with a whimsical story and terrific voice casting.

Deftly balancing the students' stories with that of Courtney's, the film creates a fully rounded portrait of a corner of America rarely examined.

The special effects continue to be masterful, but villains are given a new twist, and Order of the Phoenix is all the more fun because of it.

Smashed is quietly affecting, though sometimes difficult to sit through. The saving grace is Winstead's smashing performance.

But this telling of the story filmed on location in the now democratic South Africa is especially heart-rending thanks to superb performances by James Earl Jones and Richard Harris. [1 Jan 2000]

For all its inconsistencies, this is Smith's most provocative outing yet and certainly the toughest to forget.

Like "The Departed" and "Gone Baby Gone," What Doesn't Kill You is an engrossing, gritty, sharply written and well-acted drama set on the mean streets of South Boston.

It's fairly solid fun, though, without breaking any new ground, just as January's remake of "Assault on Precinct 13" was.

It's likely to be overrated by some and underrated by others, and both contingents will be wrong. One can't, however, overrate the performances, with auntie ruling the roost in more ways than one. [29 Mar 1996, p.4D]

Even in the classiest movie summer of the decade, Mob is destined to demand respect for Pfeiffer. [19 Aug 1988]