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There's no point in rehashing the entire plot, as every movie aficionado is more than familiar with the trajectory of King Kong; the challenge facing Jackson, his screenwriters, and the phenomenal visual-effects team was to breathe new life into an old, familiar story. To that degree, they achieve what could be best called a qualified success. Though they've assembled a crackerjack supporting cast, including Thomas Kretschmann as the Venture's hard-bitten captain and young Jamie Bell as a plucky crewman, the first third of the movie is rather labored, with too much minute detail given over to sumptuous re-creations of '30s New York and the unexciting initial leg of the Venture's sea voyage. However, once the film finds its way to Skull Island (which bears more than a passing resemblance to LOTR's Mordor), Kong turns into a dazzling movie triumph, by turns terrifying and awe-inspiring. The choreography and execution of the action set pieces-including one involving Kong and a trio of Tyrannosaurus Rexes, as well as another that could be charitably described as a bug-phobic's nightmare-is nothing short of landmark filmmaking, and a certain Mr. Spielberg should watch his back, as Kong trumps most anything that has come before it. Despite the visual challenges of King Kong, the movie's most difficult hurdle is the budding romance between Ann and her simian soulmate. Happily, this is where Jackson unqualifiedly triumphs, as this unorthodox love story is tenderly and humorously drawn, by turns sympathetic and wondrous. Watts, whose accessibility balances out her almost otherworldly loveliness, works wonders with mere glances, and Andy Serkis, who digitally embodies Kong here much as he did Gollum in the LOTR films, breathes vibrant life into the giant star of the film without ever overplaying any emotions. The final, tragic act of the film, set mostly atop the Empire State Building, is where Kong earns its place in movie history as a work that celebrates both the technical and emotional heights that film can reach. -Mark Englehart, Amazon. com.

-Jeff Shannon.

Moreover, director Michael Bay is smart enough to realise that appealing to kids doesn't mean pandering to them-the cutest robot on screen is a manic little psychotic killer with the apt name Frenzy. The humans in the film, meanwhile, keep the film grounded, whilst never detracting from the real robot stars. Unlike The Matrix trilogy, which tried to be too clever, or The Lord of the Rings films, which were too clever, Transformers is probably the best science fiction epic since the original Star Wars trilogy. -Robert Burrow.

-Jeff Shannon, Amazon. com.

In keeping with Ford's vision of civilization and its discontents, Wagon Master is populated mostly by pariahs. Besides the deservedly outcast Cleggses, there are the Mormons, the vagabond horse traders played by Johnson and Harry Carey Jr. , a medicine-show troupe, and the first people on the land, the Navajo. As individuals and groups drift and coalesce, then separate and coalesce again in fresh configurations, a new nation gets its footing while marching west-"out across the backlands, where the dust has lain so long. " This is the heart's-core of American cinema. -Richard T. Jameson.