Starring: Donald Sutherland, Elliott Gould, Tom Skerritt, Sally Kellerman, Robert Duvall

Summary: Studio: Tcfhe Release Date: 02/03/2009 Run time: 116 minutes Rating: R

Starring: Christian Bale, Jennifer Jason Leigh, Aitana Sánchez-Gijón, John Sharian, Michael Ironside, Larry Gilliard Jr., Reg E. Cathey, Anna Massey, Matthew Romero Moore, Robert Long (VII), Colin Stinton, Craig Stevenson, Ferran Lahoz, Jeremy Xidu, Norman Bell, Nancy Crane, Richard Torrington, Buffy Davis (II), Reg Wilson, Ramon Camín

Summary: As a bleak and chilling mood piece, The Machinist gets under your skin and stays there. Christian Bale threw himself into the title role with such devotion that he shed an alarming 63 pounds to play Trevor Reznik (talk about "starving artist"!), a factory worker who hasn't slept in a year. He's haunted by some mysterious occurrence that turned him into a paranoid husk, sleepwalking a fine line between harsh reality and nightmare fantasy--a state of mind that leaves him looking disturbingly gaunt and skeletal in appearance. (It's no exaggeration to say that Bale resembles a Holocaust survivor from vintage Nazi-camp liberation newsreels.) In a cinematic territory far removed from his 1998 romantic comedy Next Stop Wonderland, director Brad Anderson orchestrates a grimy, nocturnal world of washed-out blues and grays, as Trevor struggles to assemble the clues of his psychological conundrum. With a friendly hooker (Jennifer Jason Leigh) and airport waitress (Aitana Sánchez-Gijón) as his only stable links to sanity, Trevor reaches critical mass and seems ready to implode just as The Machinist reveals its secrets. For those who don't mind a trip to hell with a theremin-laced soundtrack, The Machinist seems primed for long-term status as a cult thriller on the edge. --Jeff Shannon

Starring: Julianne Moore, William H. Macy, John C. Reilly, Tom Cruise, Philip Baker Hall

Summary: An intriguing and entertaining study in characters going through varying levels of crisis and introspection. This psychological drama leads you in several different directions, weaving and intersecting various subplots and characters, from a brilliant Tom Cruise, as a self-proclaimed pied-piper, to a child forced to go on a TV game show and the pressures he faces from a ruthless father.

Starring: Won Bin, Kim Sae-Ron

Starring: Denzel Washington, Dakota Fanning, Marc Anthony, Radha Mitchell, Christopher Walken, Giancarlo Giannini, Rachel Ticotin, Jesús Ochoa, Mickey Rourke, Angelina Peláez, Gustavo Sánchez Parra, Gero Camilo, Rosa María Hernández, Heriberto Del Castillo, Mario Zaragoza, Javier Torres Zaragoza, Iztel Navarro Vazquez, Esteban De La Trinidad, Charles Paraventi, Carmen Salinas

Summary: Style trumps substance in Man on Fire, a slick, brooding reunion of Crimson Tide star Denzel Washington and director Tony Scott. The ominous, crime-ridden setting is Mexico City, where a dour, alcoholic warrior with a mysterious Black Ops past (Washington) seeks redemption as the devoted bodyguard of a lovable 9-year-old girl (the precociously gifted Dakota Fanning), then responds with predictable fury when she is kidnapped. Prolific screenwriter Brian Helgeland (Mystic River, L.A. Confidential) sets a solid emotional foundation for Washington's tormented character, and Scott's stylistic excess compensates for a distended plot that's both repellently violent and viscerally absorbing. Among Scott's more distracting techniques is the use of free-roaming, comic-bookish subtitles... even when they're unnecessary! Adapted from a novel by A.J. Quinnell and previously filmed as a 1987 vehicle for Scott Glenn, Man on Fire is roughly on par with Scott's similar 1990 film Revenge, efficiently satisfying Washington's incendiary bloodlust under a heavy blanket of humid, doom-laden atmosphere. --Jeff Shannon

Starring: William Petersen, Kim Greist, Joan Allen, Brian Cox, Dennis Farina

Summary: Though it will always be remembered as the movie featuring the "other" Hannibal Lecter, Michael Mann's 1986 thriller Manhunter is nearly as good as The Silence of the Lambs, and in some respects it's arguably even better. Based on Thomas Harris's novel Red Dragon, which introduced the world to the nefarious killer Hannibal "the Cannibal" Lecter, the film stars William Petersen (giving a suitably brooding performance) as ex-FBI agent Will Graham, who is coaxed out of semiretirement to track down a serial killer who has thwarted the authorities at every turn.

Graham's approach to the case is a perilous one. First he seeks counsel with Lecter (Brian Cox) in the latter's high-security prison cell--an encounter that is utterly horrifying in its psychological effect--and then he begins to mold his own psyche to that of the killer, with potentially devastating results. As directed by Mann (who was at the acme of his success with TV's Miami Vice), this sophisticated cat-and-mouse game never resorts to the compromise of cheap thrills. Predating Anthony Hopkins's portrayal of Lecter by four years, Cox plays the character closer to Harris's original, lower-key conception, and he's no less compelling in the role. Petersen is equally well cast, and as always Mann employs rock music to astonishing effect, using nearly all of Iron Butterfly's heavy-metal epic "In-A-Gadda-Da-Vida" to accompany the film's heart-stopping climactic sequence. All of this makes Manhunter one of the finest films of its kind, as well as further proof that Harris's fiction is a blessing to any filmmaker brave enough to adapt it. --Jeff Shannon

Starring: Laurence Olivier, Everett Creach, John Schlesinger, Robert Evans, Marthe Keller

Summary: John Schlesinger (Midnight Cowboy) directed this gripping, entertaining 1977 thriller that centers on graduate student Dustin Hoffman (The Graduate, Tootsie). Hoffman plays a sullen and cowardly loner haunted by the suicide of his father, a suspected communist. He is drawn into a murky web of international intrigue when his brother, CIA agent Doc Levy, played by Roy Scheider (Jaws, The French Connection), is murdered by a former Nazi (Laurence Olivier) who has come to the United States to reclaim a valuable stash of diamonds. Babe (Hoffman) must confront his fears of the past as he runs for his life and tries to avenge his brother's death at the same time. Featuring a classic torture sequence and a terrific cast that includes William Devane and Marthe Keller, this film written by William Goldman (Butch Cassidy and the Sundance Kid, All the President's Men) stands as a great entertainment and as one of the seminal films of the 1970s. --Robert Lane

Starring: Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito

Summary: It's enlightening to view Tim Burton's Mars Attacks! as his twisted satire of the blockbuster film Independence Day, which was released earlier the same year, although the movies were in production simultaneously. Burton's eye-popping, schlock tribute to 1950s UFO movies actually plays better on video than it did in theaters. The idea of invading aliens ray gunning the big-name movie stars in the cast is a cleverly subversive one, and the bulb-headed, funny-sounding animated Martians are pretty nifty, but it all seemed to be spread thin on the big screen. On video, however, the movie's kooky humor seems a bit more concentrated. The Earth actors (most of whom get zapped or kidnapped for alien science experiments) include Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Rod Steiger, Michael J. Fox, Lukas Haas, Jim Brown, Tom Jones, and Pam Grier. The digital video disc features an isolated track for Danny Elfman's score, as well as a few other clever and nasty little Martian surprises. --Jim Emerson

Starring: Clayton Watson, Akio Ôtsuka, Jack Fletcher (III), Terrence 'T.C.' Carson, Jill Talley, Tress MacNeille, Keanu Reeves, Olivia d'Abo, Dane A. Davis, John DeMita, Rick Gomez (II), Dwight Schultz, Tom Kenny, Carrie-Anne Moss, Matt McKenzie, Allison Smith, Alex Fernandez, Rodney Saulsberry, Hedy Burress, Kath Soucie

Summary: Matrix writer-directors Larry and Andy Wachowski commissioned seven artists from Japan, America and Korea to make nine short films set in the world of their feature trilogy. Some of the top anime directors contributed to this anthology, including Yoshiaki Kawajiri (Ninja Scroll), Koji Morimoto (Robot Carnival), and Shinchiro Watanabe (Cowboy Bebop). Some of the films tie directly into the narrative of the live-action movies. Drawn in a style reminiscent of Jean "Moebius" Giraud, Mahiro Maeda's The Second Renaissance (Part I & Part II) depicts the human-machine wars that caused the enslavement of humanity and the creation of the Matrix. The duel between two flamboyantly costumed Kabuki warriors in Kawajiri's Program is an expanded version of the cybernetic training Neo (Keanu Reeves) undergoes in the first Matrix film. Watanabe evokes the look of old newspaper photographs in A Detective Story, which falls outside the storyline of the features. Fast-paced, violent and grim, The Animatrix is an uneven but intriguing compilation that represents a new level in the ongoing cross-pollination between Japanese animation and American live action. (Not rated, suitable for ages 16 and older: considerable violence, violence against women, grotesque imagery, brief nudity, alcohol use) --Charles Solomon

Starring: Woo-ping Yuen, Laurence Fishburne, John Gaeta, Lorenzo di Bonaventura, Hugo Weaving, Zach Staenberg, Steve Skroce, Keanu Reeves, Dane A. Davis, Carrie-Anne Moss, Joel Silver, Owen Paterson, Don Davis, Janek Sirrs, Jason Bentley, Peter Doyle, Andy Wachowski, Bill Pope, Larry Wachowski, Kym Barrett

Summary: A fitting supplement to the feature-packed Matrix DVD, The Matrix Revisited provides a wealth of Matrix arcana, delivered by the 1999 blockbuster's principal cast and crew. The main course in this 163-minute feast is a two-hour documentary covering virtually every aspect of production, with teasing glimpses of fight training on the not-yet-released Matrix sequels. Of greater interest is the sheer depth of filmmaking coverage, with intelligent and amusing anecdotes and insights from all the major players (including graphic artist Geof Darrow, given overdue credit for his outstanding conceptual designs). Fight choreographer Yuen Woo-ping is also a fascinating subject, and his early action-blocking videos are included for comparative study. Another segment allows obsessive fans to express their fanatical zeal for all things Matrix, and a look at the in-production Matrix anime project gives them another source of inspiration. While you're pondering which pill to take (red or blue?), The Matrix Revisited should help you decide. --Jeff Shannon

Starring: Mary Alice, Tanveer K. Atwal, Helmut Bakaitis, Kate Beahan, Francine Bell, Monica Bellucci, Rachel Blackman, Henry Blasingame, Ian Bliss, David Bowers (II), Zeke Castelli, Collin Chou, Essie Davis, Laurence Fishburne, Nona Gaye, Dion Horstmans, Lachy Hulme, Christopher Kirby, Peter Lamb, Nathaniel Lees

Summary: Despite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrix fans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected. Picking up precisely where The Matrix Reloaded left off, this 130-minute finale finds Neo (Keanu Reeves) at a virtual junction, defending the besieged human enclave of Zion by confronting the attacking machines on their home turf, while humans combat swarms of tentacled mechanical sentinels as Zion's fate lies in the balance. It all amounts to a blaze of CGI glory, devoid of all but the shallowest emotions, and so full of metaphysical hokum that the trilogy's detractors can gloat with I-told-you-so sarcasm. And yet, Revolutions still succeeds as a slick, exciting hybrid of cinema and video game, operating by its own internal logic with enough forward momentum to make the whole trilogy seem like a thrilling, magnificent dream. -- Jeff Shannon

Starring: Robert De Niro, Ben Stiller, Dustin Hoffman, Barbra Streisand, Blythe Danner, Teri Polo, Owen Wilson, Spencer Pickren, Bradley Pickren, Alanna Ubach, Ray Santiago, Tim Blake Nelson, Shelley Berman, Kali Rocha, Dorie Barton, Jack Plotnick, Wayne Thomas Yorke, B.J. Hansen, J.P. Manoux, Myra Turley

Summary: Meet the Parents found such tremendous success in the chemistry produced by the contrasting personalities of stars Robert De Niro and Ben Stiller that the film's creators went for broke with the same formula again in Meet the Fockers. This time around, Jack and Dina Byrnes (De Niro and Blythe Danner) climb into Jack's new kevlar-lined RV with daughter Pam (Teri Polo), soon-to-be son-in-law Gaylord (Stiller), and Jack's infant grandson from his other daughter for the trip to Florida to meet Gaylord's parents, Bernie and Roz Focker (Dustin Hoffman and Barbra Streisand in a casting coup). The potential in-laws are, of course, the opposite of Jack, a pair of randy, touchy-feely fun-lovers. The rest of the movie is pretty much a sitcom: put Bernie and Roz together with Jack, and watch the in-laws clash as Gaylord squirms. As with the original, there is a sense of joy in watching these actors take on their roles with obvious relish, and the Hoffman-Streisand-Stiller triumvirate is likeable enough to draw you in. But the formula doesn't work as well in Fockers mostly because much of the humor is based on two obvious gimmicks: Gaylord Focker's name, and the fact that Streisand's character is a sex therapist. As a result, the movie itself is more contrived and predictable, and a lot less fun than the original. The casting is grand, but one wishes more thought was put into the script.--Dan Vancini

Starring: Robert De Niro, Ben Stiller, Teri Polo, Blythe Danner, Nicole DeHuff, Jon Abrahams, Owen Wilson, James Rebhorn, Thomas McCarthy, Phyllis George, Kali Rocha, Bernie Sheredy, Judah Friedlander, Peter Bartlett (II), John Elsen, Mark Hammer, Amy Hohn, William Severs, John Fiore, Marilyn Dobrin

Summary: Randy Newman's opening song, "A Fool in Love," perfectly sets up the movie that follows. The lyrics begin, "Show me a man who is gentle and kind, and I'll show you a loser," before praising the man who takes what he wants. Greg Focker (Ben Stiller) is the fool in love in Meet the Parents. Just as he's about to propose to his girlfriend Pam (Teri Polo), he learns that her sister's fiancé asked their father, Jack Byrnes (Robert De Niro), for permission to marry. Now he feels the need to do the same thing. When Greg meets Jack, he is so desperate to be liked that he makes up stories and kisses ass rather than having the courage of his convictions. It doesn't take an elite member of the CIA to see right through Greg, but that's precisely what Jack is. Directed by Jay Roach (the Austin Powers movies), Meet the Parents is an incredibly well-crafted comedy that stands in nice opposition to, say, the sloppy extremes of the Farrelly brothers. Stiller is great at playing up the uncomfortable comedy of errors, balancing just the right amount of selfishness and self-deprecating humor, while De Niro's Jack is funny as the hard-ass father who just wants a few straight answers from the kid. What makes the Jack character all the funnier is Blythe Danner as his wife, the Gracie to his George Burns, who is the true heart of the movie. Oh, and Owen Wilson turns in yet another terrific comic performance as Pam's ex-fiancé. --Andy Spletzer

Starring: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano, Mark Boone Junior, Russ Fega, Jorja Fox, Stephen Tobolowsky, Harriet Sansom Harris, Thomas Lennon (III), Callum Keith Rennie, Kimberly Campbell, Marianne Muellerleile, Larry Holden, Buzz Visconti

Summary: Guy Pearce (L.A. Confidential) and Joe Pantoliano (The Matrix) shine in this absolute stunner of a movie. Memento combines a bold, mind-bending script with compelling action and virtuoso performances. Pearce plays Leonard Shelby, hunting down the man who raped and murdered his wife. The problem is that "the incident" that robbed Leonard of his wife also stole his ability to make new memories. Unable to retain a location, a face, or a new clue on his own, Leonard continues his search with the help of notes, Polaroids, and even homemade tattoos for vital information.

Because of his condition, Leonard essentially lives his life in short, present-tense segments, with no clear idea of what's just happened to him. That's where Memento gets really interesting; the story begins at the end, and the movie jumps backward in 10-minute segments. The suspense of the movie lies not in discovering what happens, but in finding out why it happened. Amazingly, the movie achieves edge-of-your-seat excitement even as it moves backward in time, and it keeps the mind hopping as cause and effect are pieced together.

Pearce captures Leonard perfectly, conveying both the tragic romance of his quest and his wry humor in dealing with his condition. He is bolstered by several excellent supporting players, and the movie is all but stolen from him by Pantoliano, who delivers an amazing performance as Teddy, the guy who may or may not be on his side. Memento has an intriguing structure and even meditations on the nature of perception and meaning of life if you go looking for them, but it also functions just as well as a completely absorbing thriller. It's rare to find a movie this exciting with so much intelligence behind it. --Ali Davis

Starring: Dustin Hoffman, Jon Voight, Sylvia Miles, John McGiver, Brenda Vaccaro

Summary: The first, and only, X-rated film to win a best picture Academy Award, John Schlesinger's Midnight Cowboy seems a lot less daring today (and has been reclassified as an R), but remains a fascinating time capsule of late-1960s sexual decadence in mainstream American cinema. In a career-making performance, Jon Voight plays Joe Buck, a naive Texas dishwasher who goes to the big city (New York) to make his fortune as a sexual hustler. Although enthusiastic about selling himself to rich ladies for stud services, he quickly finds it hard to make a living and eventually crashes in a seedy dump with a crippled petty thief named Ratzo Rizzo (Dustin Hoffman, doing one of his more effective "stupid acting tricks," with a limp and a high-pitch rasp of a voice). Schlesinger's quick-cut, semi-psychedelic style has dated severely, as has his ruthlessly cynical approach to almost everybody but the lead characters. But at its heart the movie is a sad tale of friendship between a couple of losers lost in the big city, and with an ending no studio would approve today. It's a bit like an urban Of Mice and Men, but where both guys are Lenny. --Jim Emerson

Starring: John Cusack, Kevin Spacey, Jack Thompson, Irma P. Hall, Jude Law

Summary: Readers of John Berendt's bestselling novel were bound to be at least somewhat disappointed by this big-screen adaptation, but despite mixed reaction from critics and audiences, there's still plenty to admire about director Clint Eastwood's take on the material. Readers will surely miss the rich atmosphere and societal detail that Berendt brought to his "Savannah story," and the movie can only scratch the surface of Georgian history, tradition, and wealthy decadence underlying Berendt's fact-based murder mystery. Still, Eastwood maintains an assured focus on the wonderful eccentrics of Savannah, most notably a gay Savannah antiques dealer (superbly played by Kevin Spacey), who may or may not have killed his friend and alleged lover (Jude Law). John Cusack plays the Town & Country journalist who arrives in Savannah to find much more than he bargained for--including the city's legendary drag queen Lady Chablis (playing "herself")--and John Lee Hancock's smoothly adapted screenplay succeeds in bringing Berendt's characters vividly to life with plenty of flavorful dialogue. In similar fashion to Warner's acclaimed DVD of L.A. Confidential, this classy DVD includes a behind-the-scenes documentary titled The Real People in the Garden and an interactive map tour of Savannah and its most celebrated (or notorious) citizens. The original theatrical trailer is also included. --Jeff Shannon

Starring: Sean Penn, Emile Hirsch, James Franco, Alison Pill, Diego Luna

Summary: When a famous person, like the nation's first openly gay male city supervisor, inspires an acclaimed book (The Mayor of Castro Street) and Oscar-winning documentary (The Times of Harvey Milk), a biopic can seem superfluous at best. Taking over from Oliver Stone and Bryan Singer, Gus Van Sant, whose previous picture was the more experimental Paranoid Park, directs with such grace, he renders the concern moot. Unlike Randy Shilts' biography, which begins at the beginning, Dustin Lance Black's script starts in 1972, just as Milk (Sean Penn, in a finely-wrought performance) and his boyfriend, Scott (James Franco, equally good), move from New York to San Francisco. Milk opens a camera shop on the Castro that becomes a safe haven for victims of discrimination, convincing him to enter politics. With each race he runs, Harvey's relationship with Scott unravels further. Finally, he wins, and the real battle begins as Milk takes on Proposition 6, which denies equal rights to homosexuals. He does what he can to rally politicians, like George Moscone (Victor Garber) and Dan White (Josh Brolin). While the mayor is willing, the conservative board member has reservations, and after Milk fails to back one of White’s pet projects, the die is cast, leading to the murder of two beloved figures. If Van Sant’s film captures Harvey in all his complexities (he was, for instance, a very funny man), Milk also serves as an enticement to grass-roots activism, showing how one regular guy elevated everyone around him, notably Cleve Jones (Emile Hirsch), the ex-street hustler who created the NAMES Project AIDS Memorial. Released in the wake of Proposition 8, California’s anti-gay marriage amendment, Milk is inspirational in the best way: one person can and did make a difference, but the struggle is far from over. --Kathleen C. Fennessy



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Sean Penn (Harvey Milk)


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Starring: Jay Baruchel, Marcus Chait, Mike Colter, Joe D'Angerio, Morgan Eastwood, Morgan Freeman, Erica Grant, Riki Lindhome, Bruce MacVittie, Anthony Mackie, Margo Martindale, Benito Martinez, Tom McCleister, Naveen, Brian F. O'Byrne, Michael Pena, David Powledge, Lucia Rijker, Hilary Swank

Summary: Clint Eastwood's 25th film as a director, Million Dollar Baby stands proudly with Unforgiven and Mystic River as the masterwork of a great American filmmaker. In an age of bloated spectacle and computer-generated effects extravaganzas, Eastwood turns an elegant screenplay by Paul Haggis (adapted from the book Rope Burns: Stories From the Corner by F.X. Toole, a pseudonym for veteran boxing manager Jerry Boyd) into a simple, humanitarian example of classical filmmaking, as deeply felt in its heart-wrenching emotions as it is streamlined in its character-driven storytelling. In the course of developing powerful bonds between "white-trash" Missouri waitress and aspiring boxer Maggie Fitzgerald (Hilary Swank), her grizzled, reluctant trainer Frankie Dunn (Eastwood), and Frankie's best friend and training-gym partner Eddie "Scrap-Iron" Dupris (Morgan Freeman), 74-year-old Eastwood mines gold from each and every character, resulting in stellar work from his well-chosen cast. Containing deep reserves of love, loss, and the universal desire for something better in hard-scrabble lives, Million Dollar Baby emerged, quietly and gracefully, as one of the most acclaimed films of 2004, released just in time to earn an abundance of year-end accolades, all of them well-deserved. --Jeff Shannon

Starring: Richard Alexander, Henry Bergman, Stanley Blystone, Chester Conklin, Gloria DeHaven, Al Ernest Garcia, Paulette Goddard, Edward LeSaint, Jack Low, Wilfred Lucas, Murdock MacQuarrie, Fred Malatesta, Hank Mann, Mira McKinney, Ted Oliver, Cecil Reynolds, Tiny Sandford, Sammy Stein, Juana Sutton

Summary: Charlie Chaplin is in glorious form in this legendary satire of the mechanized world. As a factory worker driven bonkers by the soulless momentum of work, Chaplin executes a series of slapstick routines around machines, including a memorable encounter with an automatic feeding apparatus. The pantomime is triumphant, but Chaplin also draws a lively relationship between the Tramp and a street gamine. She's played by Paulette Goddard, then Chaplin's wife and probably his best leading lady (here and in The Great Dictator). The film's theme gave the increasingly ambitious writer-director a chance to speak out about social issues, as well as indulging in the bittersweet quality of pathos that critics were already calling "Chaplinesque." In 1936, Chaplin was still holding out against spoken dialogue in films, but he did use a synchronized soundtrack of sound effects and his own music, a score that includes one of his most famous melodies, "Smile." And late in the film, Chaplin actually does speak--albeit in a garbled gibberish song, a rebuke to modern times in talking pictures. --Robert Horton

Starring: Irving Bacon, Marjorie Bennett, Audrey Betz, Virginia Brissac, Charles Chaplin, Mady Correll, Isobel Elsom, Charles Evans (IV), William Frawley, Helene Heigh, Margaret Hoffman, Robert Lewis, Ada May, Edwin Mills, Eula Morgan, Marilyn Nash, Bernard Nedell, Martha Raye, Allison Roddan, Almira Sessions

Summary: This blistering little black comedy was well ahead of its time when released in 1947. Originally, Orson Welles had wanted Chaplin to star in his drama about a French mass murderer named Landru, but Chaplin was hesitant to act for another director, and used the idea himself. He plays a dapper gent named Henri Verdoux (who assumes a number of identities), a civilized monster who marries wealthy women, then murders them (as we meet him, he's gathering roses as an incinerator ominously bellows smoke in the background) and collects their money to support his real family. The Little Tramp is now a distant memory, though this was the first film not to feature Chaplin's beloved creation. Verdoux is largely viciously clever until it gets too heavy-handed, as evidenced when a woman he spares returns years later as the mistress of a munitions manufacturer. Ultimately, Chaplin breaks character (much as he did in The Great Dictator) to preach to the masses, declaring that against the machines of war that grip the planet, humble killer Verdoux is "an amateur by comparison."--David Kronke

Starring: Jack Angel, Bob Bergen, Samuel Lord Black, Rodger Bumpass, Steve Buscemi, James Coburn, Billy Crystal, Peter Docter, Dan Gerson, Mary Gibbs, John Goodman, Bonnie Hunt, Frank Oz, Bob Peterson (III), Jeff Pidgeon, John Ratzenberger, David Silverman, Steve Susskind, Jennifer Tilly, Lee Unkrich

Summary: The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. --Doug Thomas

Starring: Connie Booth, Elspeth Cameron, Graham Chapman, John Cleese, Carol Cleveland

Summary: Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that--you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni--!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead. --Jeff Shannon

Starring: Carol Cleveland, Matt Frewer, Simon Jones, Andrew Maclachlan, Monty Python

Summary: Perhaps only the collective brilliant minds of the Monty Python film and television troupe are up to the task of tackling a subject as weighty as the Meaning of Life. Sure, Kierkegaard, Wittgenstein, and their ilk have tried their hands at this puzzler, but only Python has attempted to do so within the commercial motion picture medium. Happily for us all, Monty Python's the Meaning of Life truly explains everything one conceivably needs to know about the perplexities of human existence, from the mysteries of Catholic doctrine to the miracle of reproduction to why one should avoid the salmon mousse to the critical importance of the machine that goes ping! Using fish as a linking device (and what marvelous links those aquatic creatures make), The Meaning of Life is presented as a series of sketches: a musical production number about why seed is sacred; a look at dining in the afterlife; the quest for a missing fish (there they are again); a visit from Mr. Death; the cautionary tale of Mr. Creosote and his rather gluttonous appetite; an unflinching examination of the harsh realities of organ donation, and so on. Sadly, this was the last original Python film, but it's a beaut. You'll laugh. You'll cry (probably because you're laughing so hard). You may even learn something about the Meaning of Life. Or at least about how fish fit into the grand scheme of things. --Jim Emerson

Starring: Jeff Brown, David Collins (III), Robert Duerr, Adolf Hitler, David Irving, Fred A. Leuchter Jr., Caroline Leuchter, Daniel Polsby, James Roth (II), Shelly Shapiro, Suzanne Tabasky, Robert Jan Van Pelt, Ernst Zündel

Summary: Director Errol Morris has never shied away from difficult subjects: Gates of Heaven explores the world of pet cemeteries, and The Thin Blue Line sets out to prove that hitchhiker Randall Adams did not commit a murder. Morris's view is distinctive; he finds the dark humor and oddity in the most solemn of subjects. His controversial documentary Mr. Death, therefore, should not come as a surprise to audiences.

The film begins on a surreal plane, as Fred Leuchter talks about his career as a designer of execution equipment. The son of a prison guard, Leuchter found himself in the execution game when, as an electrical engineer, he offered his services to help fix the electric chair used in North Carolina. His motivation? Humanitarian; previously the device in place would torture the prisoner before killing him. After his success in North Carolina, other states contacted him to help with their execution devices, and Leuchter helped devise lethal-injection devices, gas chambers, and gallows as well.

From here, though, the film takes an even more bizarre twist. During this time in the late 1980s, Ernst Zündel was arrested in Canada for publishing neo-Nazi materials. Zündel hired Leuchter, as an expert on gas chambers, to go to Auschwitz to gather evidence of the Holocaust. Leuchter surreptitiously videotaped himself illegally gathering chunks of rock from the concentration camp, which he then analyzed. From these results he determined that the Holocaust did not occur, and he became an active historical revisionist. What he viewed as his definitive achievement, his paper The Leuchter Report, ultimately led to his fall, as states wouldn't work with him, Jewish groups targeted him, and neo-Nazis sought him.

Mr. Death is frequently disturbing to watch, and Morris allows Leuchter to speak his mind with few interruptions. The tale that emerges is spellbinding, as Leuchter comes off not as anti-Semitic but as a deluded man with strong albeit misguided convictions. He is a fascinating character, and the only thing missing is more personal information about him beyond his daily intake of 40 cups of coffee and 100 cigarettes. --Jenny Brown

Starring: Eric Bana, Daniel Craig, Ciarán Hinds, Mathieu Kassovitz, Hanns Zischler

Summary: At its core, Munich is a straightforward thriller. Based on the book Vengeance: The True Story of an Israeli Counter-Terrorist Team by George Jonas, it's built on a relatively stock movie premise, the revenge plot: innocent people are killed, the bad guys got away with it, and someone has to make them pay. But director Steven Spielberg uses that as a starting point to delve into complex ethical questions about the cyclic nature of revenge and the moral price of violence. The movie starts with a rush. The opening portrays the kidnapping and murder of Israeli athletes by PLO terrorists at the 1972 Olympics with scenes as heart-stopping and terrifying as the best of any horror movie. After the tragic incident is over and several of the terrorists have gone free, the Israeli government of Golda Meir recruits Avner (Eric Bana) to lead a team of paid-off-the-book agents to hunt down those responsible throughout Europe, and eliminate them one-by-one (in reality, there were several teams). It's physically and emotionally messy work, and conflicts between Avner and his team's handler, Ephraim (Geoffrey Rush), over information Avner doesn't want to provide only make things harder. Soon the work starts to take its toll on Avner, and the deeper moral questions of right and wrong come into play, especially as it becomes clear that Avner is being hunted in return, and that his family's safety may be in jeopardy.

By all rights, Munich should be an unqualified success--it has gripping subject matter relevant to current events; it was co-written by one of America's greatest living playwrights (Tony Kushner, Angels in America) and an accomplished screenwriter (Eric Roth); it stars an appealing and likeable actor in Eric Bana; and it was helmed by Steven Spielberg, of all people. While it certainly is a great movie, it falls just short of the immense heights such talent should propel it to. This is due more to some questionable plot devices than anything else (such as the contrived use of a family of French informants to locate the terrorists). But while certain aspects ring hollow, the movie as a whole is a profound accomplishment, despite being only "inspired by true events," and not factually based on them. From the ferocious beginning to the unforgettable closing shot, Munich works on a visceral level while making a poignant plea for peace, and issuing an unmistakable warning about the destructive cycle of terror and revenge. As one of the characters intones, "There is no peace at the end of this."--Daniel Vancini

Starring: Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne, Marcia Gay Harden, Laura Linney, Kevin Chapman, Emmy Rossum, Tom Guiry, Spencer Treat Clark, Andrew Mackin, Adam Nelson, Robert Wahlberg, Jenny O'Hara, John Doman, Cameron Bowen, Jason Kelly (III), Connor Paolo, T. Bruce Page, Miles Herter

Summary: Superior acting, writing, and direction are on impressive display in the critically acclaimed Mystic River, Clint Eastwood's 24th directorial outing and one of the finest films of 2003. Sharply adapted by L.A. Confidential Oscar-winner Brian Helgeland from the novel by Dennis Lehane, this chilling mystery revolves around three boyhood friends in working-class Boston--played as adults by Tim Robbins, Sean Penn, and Kevin Bacon--drawn together by a crime from the past and a murder (of the Penn character's 19-year-old daughter) in the present. These dual tragedies arouse a vicious cycle of suspicion, guilt, and repressed anxieties, primed to explode with devastating and unpredictable results. Eastwood is perfectly in tune with this brooding material, giving his flawless cast (including Laura Linney, Marcia Gay Harden and Laurence Fishburne) ample opportunity to plumb the depths of a resonant human tragedy, leading to an ambiguous ending that qualifies Mystic River for contemporary classic status. --Jeff Shannon