David Wiegand

Greg Berlanti’s movie about a teenager’s coming out is nothing if not sincere. More to the point, it’s not very much except sincere.

The film would only be very good were it not for Vega’s performance, which ranks right up there with the five women nominated for best actress this year and, in some cases, surpasses them.

The director is barely a kid, yet this is such a ferociously accomplished, beautifully nuanced and endlessly surprising film, you'd think the guy had been directing for decades. [13 June 2010, p.Q25]

The Little Prince is heartbreaking, beautiful and irresistible.

Jarmusch has created a small miracle of a film, one that is both intellectually dazzling and emotionally provocative.

The writing, by Adam Mansbach, and direction, by Vikram Gandhi, are competent without being terribly sophisticated or daring. Terrell’s performance elevates the film, though.

Where the first half of the film had power and sweep, the second half is a bunch of Post-it notes.

Cliche piles on top of cliche to make a nearly two-hour film feel twice as long, simply because we see so many things coming that we feel as though we’re watching each section twice.

Jacob Bernstein’s documentary about his mother, Nora Ephron, is unbearably funny for much of the way, and then it is sad, but bearably so because Everything Is Copy is about one woman’s realization that some things in life are more than material for her writing.

The opening is hilarious, but it also sets the bar extremely high for whatever may follow.... The film doesn’t always hit that bar, but it comes close enough times to make “Pee-wee’s Big Holiday” a holiday for viewers.

While The Lady in the Van is one of those quaint and quirky little films of which the British are inordinately fond, Americans will find it equally endearing, with the exception of the hideously over-the-top final scene.

I know this is heresy on a number of fronts, but much of The Love We Make is boring.

In just a short period of time, a weekend hookup tests the boundaries each man has set for himself.

Sometimes corny, often funny and just as often touching, their act has been wowing Kiwis for decades.

Right now, his (Dolan) work is fun to watch. Before long, it may very well be mandatory for anyone who values great filmmaking.

This small film's accomplishments are many, but not the least is its ability to take a human story and frame it as a parable, without losing a bit of credibility or irresistible heart.

You can view the film narrowly as commentary on the soul-crushing fury of being HIV positive, or take a few steps back and see Araki's film in a more universal sense as the disintegration of human values caused by an obsessive culturewide drive for self-satisfaction and indifference to others. The Living End is much more than a time capsule, thanks to Araki's daring as a filmmaker.

Appropriately structured like a ride on skateboard: It swoops back and forth in time, hovers in midair, twists back on itself over and over again, then rolls into silence.

As a film, "Levees" is a significant and exhaustive achievement. Although it can be argued that it might have been even more effective if it had been edited down a bit, the power of its human stories compensates for whatever minor flaws it has.

The performances are sublime, of course, but it's how Altman masterminds the moral conflicts at the core of the story that makes Thieves so powerful. [03 Jun 2007, p.32]

Character consistency is fleeting, to say the least, but who cares? So many of these guys are gone now, just watching the cast having such a great time is half the considerable fun of the film. [28 Jan 2007, p.30]