It's impossible to tell what's going on at any given moment in Tomb of the Dragon Emperor it's even harder to care about being able to tell.

I can't remember ever feeling so glad that a movie was finally over. [Director George] Lucas may have held my imagination hostage for two hours, but reclaiming it afterward wasn't hard at all.

Oldboy makes us feel a part of something bigger than ourselves. It's a grand, gritty, indelible experience, the sort of picture that mimics great literature in the way it envelops you in a well-told story while also evoking subtle but strong gradations of emotion.

Ewan McGregor stars as Jedi Obi-Wan Kenobi, again doing a fine Alec Guinness impersonation but otherwise seeming lost and alone in the galaxy as the one actor attempting to give a real performance in this mess.

This isn't a picture filled with wonder and a sense of fun it's so jaded and crass that I almost wonder if it's a highly unscientific experiment designed to gauge how little audiences will settle for these days. Manic and multicolored, Speed Racer is an excess of nothingness.

While 9 Songs is sexually explicit in the basic sense, its directness is what's most fascinating, and ultimately most moving, about it.

Who would have thought that [director] Cameron Crowe had a movie as bad as Vanilla Sky in him? It's a punishing picture, a betrayal of everything that Crowe has proved he knows how to do right.

Children of Men is a solemn, haunting picture, but it's also a thrilling one, partly because of the sheer bravado with which it's made. It left me feeling more fortified than drained. [Director Alfonso] Cuarón, the most openhearted of directors, prefers to give rather than take away.

Pan's Labyrinth works on so many levels that it seems to change shape even as you watch it. It is, at times, a joyless picture, and its pall of sadness can begin to weigh you down.

You can talk film theory till you're blue in the face, but in the end, the thing that may haunt you most about a movie is a pair of eyes.