Cabin Fever (2003)

"The 31-year-old, Boston-born Roth, who makes his feature debut here, pays tribute to many films that have scared him and puts a spin on each."

Calendar Girls (2003)

"A gently pleasing if mostly undramatic picture."

Captain Corelli's Mandolin (2001)

"The adapters of Louis de Bernieres' complicated and troubling novel Corelli's Mandolin have cut away most of what made the book unique."

Cars (2006)

"It has the heart and humor of Toy Story, kid-friendly cuddliness of Monsters, Inc. or Finding Nemo, and the kinds of adult gags and action sequences that yield bursts of energy in The Incredibles."

Casanova (2005)

"Consider how marvelous Casanova could've been had it committed not just to the look and sound of the 18th century but to the ways people really talked, thought and behaved."

Cast Away (2000)

"The filmmakers risk your impatience to take us inside almost every detail of the marooned man's life, and the risk pays off."

Catch a Fire (2006)

"[Director Phillip] Noyce and [writer Shawn] Slovo remind us that, if you treat everyone in a culture as a terrorist, you're certain to catch some who really are - but you're also liable to make terrorists of those who never would have been."

Catwoman (2004)

"Catwoman is destined not for a Mystery Science Theater 3000 fate but for immortality as one of the subtlest, most thorough parodies I've ever seen."

The Caveman's Valentine (2001)

"The overall conception is grand, daring, challenging. But the details of the story, crucial in a picture that's at least partly a mystery, remain a tangled blur."

Chandni Chowk to China (2009)

"Chandni Chowk is the kind of madness to which you surrender unconditionally or not at all. You'll find the trans-Asian journey from the market street in Delhi to the tyrannized village in China bewitching or bewildering, with little room in between."

Charlie and the Chocolate Factory (2005)

"Bizarrely entertaining and brilliantly designed."

Charlie Wilson's War (2007)

"Director Mike Nichols and writer Aaron Sorkin tell the story nimbly and intelligently in Charlie Wilson's War, which has been billed as a comedy but contains sobering reminders about modern international affairs."

Charlie's Angels: Full Throttle (2003)

"I bet John August, Cormac Wibberly and Marianne Wibberly couldn't begin to explain what happens in the script they wrote."

Charlotte's Web (2006)

"Director Gary Winick and writers Susannah Grant and Karey Kirkpatrick preserve White's lovely observations, often using his language."

Che, Part Two (2008)

"At this length, that's an unforgivable sin."

Children of Men (2006)

"It's as if Cuaron sees a future so hellish that all of us retreat into our self-absorbed worlds, leaving society at large to go hang itself. That's a nightmarish vision indeed."

The Chronicles of Narnia: Prince Caspian (2008)

"The magical creatures and sprawling battles have been beautifully produced and shot, and the thunderous final conflict shakes the Earth."

Chronicles of Riddick (2004)

"Like so many sequels, The Chronicles of Riddick demonstrates Hollywood's law of diminishing returns: Its quality is inversely proportional to its budget."

The Cider House Rules (1999)

"Hallstrom can help mannered actors give more individualized performances, and Michael Caine benefits here."

City of Ember (2008)

"The film adapts Jeanne Duprau's novel with visual flair and vague, clumsy storytelling."

City of Men (2008)

"I wish I hadn't seen the masterpiece City of God before the current City of Men, which is a more conventional story in the same setting. Judged on its own merits, the latter film still makes a considerable emotional impact."

The Climb (2002)

"... offers a realistic view of the world that may surprise people who haven't seen a Christian film lately."

Cloverfield (2008)

"Cloverfield is a non-stop smashfest meant to be forgotten as soon as it's over, then repeated the following weekend for people eternally hungry for empty sensations. If you're too old for that, find yourself another film."

Collateral Damage (2002)

"Judged by action-movie standards, it's an embarrassment: predictable, silly, full of coincidences and incredible changes of heart."

Confidence (2003)

"Confidence is The Sting without period appeal, humor, the charisma of Robert Redford or Paul Newman and the quietly seething villainy of Robert Shaw."