Abandon (2002)

"The next big thing's not-so-big (and not-so-hot) directorial debut."

Adaptation (2002)

"The most lacerating Hollywood comedy since The Player a decade ago, perfectly capturing the self-absorption of the industry for which it was made."

After Midnight (2004)

"Davide Ferrario -- who is also a film critic -- has a clear idea what movie love should look like, and almost none at all about real love."

Alex and Emma (2003)

"The perfect date movie for pseudo-literary half-wits."

Alfie (2004)

"The newly remade Alfie does for Jude Law what the 1966 original accomplished for Michael Caine: It makes him a star."

Almost Famous (2000)

"What moments it has! With his pitch-perfect ear for the music swirling through every scene, Crowe seems to hear the words in his characters' hearts."

Amazing Grace (2007)

"Like Steven Spielberg's glossy Amistad before it, Amazing Grace shies away from the texture and complexity of color, scurrying instead for the safer platitudes of black and white -- good and evil."

America's Sweethearts (2001)

"A Billy Crystal shtick-fest masquerading as romantic-comedy, though it's hardly ever romantic and only occasionally funny."

American Splendor (2003)

"This mixture of drama and documentary may seem jarring at first. But its ultimate effect is every bit as clever as the filmmakers hoped."

Anchorman: The Legend of Ron Burgundy (2004)

"Burgundy is dim, vain and unrepentantly horny, but there is something so limited about him that he seems more pitiable than funny."

Apocalypto (2006)

"With a ferocity that is often as difficult to take as it is fascinating to watch, Mel Gibson's Apocalypto comes crashing across 500 years of history with such immediacy that it feels as if this haunting, fierce, sadistic movie will never leave you."

Art School Confidential (2006)

"Proposes to paint a black comedy, but instead has the outsize ears and lopsided, leering grin of bad caricature."

Atonement (2007)

"In its first 45 minutes, Atonement achieves a kind of perfection rare even for big Oscar-bait movies. Every facet of the filmmaking is the equal of any picture released this year. The rest of the movie isn't so bad."

Angela's Ashes (1999)

"This one will disappoint fans of the book and repulse those who have not read it."

Against the Ropes (2003)

"Still Oscar-less, Ryan obviously sees Jackie as her blue-collar scrapper in the Brockovich-Norma Rae mold. What she delivers is very different -- an unwittingly patronizing Great Blond Hope."

Ali (2001)

"A joltin' powerhouse of a movie that deals more in fleeting impressions than pat answers."

Alien (1979)

"It's a most satisfying return to one of the few sci-fi films that deserves to be called a masterpiece."

Alien: The Director's Cut (2003)

"It's a most satisfying return to one of the few sci-fi films that deserves to be called a masterpiece."

All the Queen's Men (2002)

"This one aims for the toilet and scores a direct hit."

Amen (2003)

"It is the director's most ambitious film in years and one of his least compelling."

American Experience - Daughter from Danang (2002)

"Like other great documentaries ... this goes after one truth (the Ford administration's complicity in tearing 'orphans' from their mothers) and stumbles upon others even more compelling."

American Psycho (2000)

"Much of American Psycho feels like déjà vu."

Antwone Fisher (2002)

"A movie that resonates with truth and caring and, thanks to the uncommon rapport between Luke and Washington, grabs at the heart like nothing else this year."

Anything But Love (2003)

"The results are earnest but completely resistable, more borscht-belt Cabaret than My Big Fat New York Tryout."

Anywhere But Here (1999)

"The real revelation here is Portman. The 17-year-old actress can play a range of emotions beyond actresses twice her age."