Caché (2005)

"A thriller with a powerful political subtext."

Cafe Lumiere (2004)

"Both Hou and Ozu excel in evoking the poetry of everyday life, and, as a tribute from one great filmmaker to another, Cafe Lumiere should richly satisfy devotees of both artists."

Calendar Girls (2003)

"It creates a strong sense of a living, breathing community, and you root for its affectionately drawn characters as they experience the giddiness of triumph without forgetting the project's bittersweet inspiration."

Callas Forever (2004)

"By aspiring no higher than campy adulation, it ill serves the memory of the most storied opera diva of the last century."

Calvaire (2005)

"Du Welz has definite visual-dramatic talent. (Calvaire was a Cannes festival pick.) But, like Norman Bates' car, he need to get pulled out of the swamp."

Can Mr. Smith Get to Washington Anymore? (2006)

"The movie is breezy, fun and keeps comin' at ya. Politics needs more of this and less of what went on in Ohio."

El Cantante (2007)

"What is it about the biopic genre that gravitates toward the same sea of cliches, no matter what the sound or era?"

Cape Of Good Hope (2005)

"There's so much Altmanesque activity in the film that even if some storylines temporarily don't work, others keep making up for them."

Capote (2005)

"It is exceptional in every sharp-eyed, low-keyed detail."

Captain Pantoja and the Special Services (1999)

"Goofy but enjoyable."

Caramel (2008)

"There's a pleasant, easygoing charm to Caramel, largely stemming from Labaki's rare determination to depict Beirut as something other than a war-torn, slowly recovering battleground."

Carnage (2003)

"Confidently directed and tightly constructed, Carnage announces the presence of a fresh, powerful directorial mind with each frame."

Casa de los Babys (2003)

"Eschewing all sentiment, avoiding all pathos, keeping his film and most of the women hard as nails, [Sayles] manages to tell a compelling story."

Casino Royale (2006)

"A renewed sense of engagement informs director Martin Campbell's tough, absorbing adaptation of the 1953 Ian Fleming novel, the one that started the whole 007 business."

Cast Away (2000)

"Cast Away is an adventure movie of extraordinary simplicity and power."

Catch a Fire (2006)

"The action, political intrigue and marital tensions (which prove critical as the story unfolds) never quite coalesce into a compelling whole."

Catch Me If You Can (2002)

"It's a technically superb film, shining with all the usual Spielberg flair, expertly utilizing the talents of his top-notch creative team."

Caterina in the Big City (2005)

"Though Caterina is unusually well-acted and crafted for this kind of movie ... Giancarlo is the one character who makes the movie special."

Catwoman (2004)

"The Showgirls of superhero movies."

The Caveman's Valentine (2001)

"Gets less and less convincing as it goes on."

The Cell (2000)

"The movie impresses more than it entertains, conjuring up a head full of evocative images that don't really evoke all that much."

The Center of the World (2001)

"An absurd soft-core yuppie fantasy coyly tip-toeing around the idea of prostitution and its consequences."

Cet Amour-La (2002)

"It's a tender, sympathetic film from a gifted writer-director, Algerian-born Josee Dayan, who obviously adores Moreau, Duras and literature."

Chalk (2007)

"An A-for-effort novelty that, by the end, barely musters a passing grade."

Changeling (2008)

"Eastwood, working from a script by J. Michael Straczynski, tells a painful true story neatly and well, with one foot in rousing Hollywood melodrama and the other in a story that resists tidy resolution."