From Best to Worst: Robin Williams

It follows a predictable narrative arc, but Good Will Hunting adds enough quirks to the journey -- and is loaded with enough powerful performances -- that it remains an entertaining, emotionally rich drama.

Kenneth Branagh's sprawling, finely textured adaptation of Shakespeare's masterpiece lives up to its source material, using strong performances and a sharp cinematic focus to create a powerfully resonant film that wastes none of its 246 minutes.

A highly entertaining entry in Disney's renaissance era," Aladdin is beautifully drawn, with near-classic songs and a cast of scene-stealing characters.

You don't have to be a baseball fan to be entertained by the absurdities, obsessions, and greed on display in this documentary.

Driven by Pacino's performance, Insomnia is a smart and riveting psychological drama.

Bursting with Terry Gilliam's typically imaginative flourishes, this story of a possibly deranged Baron recounting his storied life is a flamboyant and witty visual treat.

A well-calibrated blend of manic comedy and poignant drama, Good Morning, Vietnam offers a captivating look at a wide range of Robin Williams' cinematic gifts.

World's Greatest Dad is a risky, deadpan, dark comedy that effectively explores the nature of posthumous cults of celebrity.

Affecting performances from the young cast and a genuinely inspirational turn from Robin Williams grant Peter Weir's prep school drama top honors.

An odd but affecting mixture of drama, comedy and fantasy, The Fisher King manages to balance moving performances from Robin Williams and Jeff Bridges with director Terry Gilliam's typically askew universe.

Robin Williams is very effective in this creepy, well-shot thriller.

Mike Nichols wrangles agreeably amusing performances from Robin Williams and Nathan Lane in this fun, if not quite essential, remake of the French comedy La Cage aux Folles.

Can a joke stand up to repeated tellings? Hilarious and revealing of the way comedy works, The Aristocrats demonstrates that it's possible.

Visually dazzling, with a thoughtful storyline and catchy musical numbers, Happy Feet marks a successful animated debut from the makers of Babe.

A curious, not always seamless, amalgamation of Kubrick's chilly bleakness and Spielberg's warm-hearted optimism, A.I. is, in a word, fascinating.

It doesn't probe as deep -- or tell as many hard truths -- as it could have, but Don Hahn's look at Disney's rebirth offers a fascinating and surprisingly candorous glimpse into the studio's past.

Gut-wrenching and emotionally affecting, Lee Daniels' The Butler overcomes an uneven narrative thanks to strong performances from an all-star cast.

On paper, Mrs. Doubtfire might seem excessively broad or sentimental, but Robin Williams shines so brightly in the title role that the end result is difficult to resist.

Robots delights on a visual level, but the story feels like it came off an assembly line.

Altman's take on the iconic cartoon is messy and wildly uneven, but its robust humor and manic charm are hard to resist.

An insubstantial plot overshadows the beautiful, surreal scenery.

While not without its moments, Night at the Museum: Secret of the Tomb is a less-than-inspired sendoff for the trilogy.

The animation is as eye-popping as ever, but Happy Feet Two's narrative is too noisily incoherent to recapture the Oscar-winning charm of its predecessor.

Parents might call this either a spectacle-filled adventure or a shallow and vapid CG-fest, depending on whether they choose to embrace this on the same level as their kids.

Night at the Museum: Battle at the Smithsonian is busy enough to keep the kids interested but the slapstick goes overboard and the special effects (however well executed) throw the production into mania.

Perhaps worth checking out if only for the opportunity to see reliably powerful work from Annette Bening and Ed Harris, The Face of Love undermines its leads' performances with a scattershot script and aimless direction.

The talent involved can't save a script that has nowhere to go with its promising premise.

Everyone's Hero is such a predictable and bland tale that it'll appeal mostly to little kids; others seeking something in Pixar's league are looking in the wrong ballpark.

This psychological thriller compels by blurring the line between truth and fiction; unfortunately, the film itself gets muddled in a hazy account of Maupin's original novel.

Though featuring a talented cast, August Rush cannot overcome the flimsy direction and schmaltzy plot.

Bicentennial Man is ruined by a bad script and ends up being dull and mawkish.