Keith Phipps

What it became is essentially one long free-fall from destitution to despair.

A sweet, unabashedly corny, matinee-friendly science-fiction adventure starring Lance Guest as a trailer-park videogame prodigy, and Robert Preston as the alien who recruits him to save the day from some space-baddies.

Garden State coasts on this considerable charm until it hits a brick wall in its final segments.

Whannell commits to making a science fiction film plugged into the moment in which we’re living, and making grim projections of what might be around the corner.

It's a postcard-lovely movie that, in spite of its best intentions, ends up feeling a little touristy.

It's a tender, but sometimes untended, portrait of the artist as a young man-and occasionally as a young asshole-that's handsome, dutiful, and finally, a little dull.

Here's a strangely flawed and strangely satisfying movie.

Moore is so uncharismatic, he works his way back around to become incredibly charismatic, and so does the film.

Outrage is compelling to watch until it becomes exhausting.

It's all so uneasily compelling and quietly moving, it might be too much to ask her to sustain it through the conclusion.

The film is memorable for its action scenes—from an opening raid that erupts on an eerily quiet day through a Sam Peckinpah-inspired finale—but also for the reflective moments from which those action scenes are born.

Some of the points seem too easy, some of the revelations practically announce themselves in advance, and there's never any sense of excitement or suspense as to where the whole thing is heading. But it still works, most of the time.

The politics of Stone's 9/11 movie lean right, if they lean any way at all. Mostly, the film sits up straight and just wants to be loved by all. There are more controversial Hallmark cards.

It's a heartbreaking tale, a sliver of a tragic history still unfolding, but one that Braun largely leaves others to document.

Though it doesn’t come close to touching the original, it’s not the years-late embarrassment it might have been.

Two movies in one. That’s one more movie than it needs to be.

While most literary adaptations look flat and pretty, the fine performances here set Emma apart.

Whedon’s handling of the personal material is what makes Age Of Ultron extraordinary. Remarkably for a film so overstuffed, no character gets neglected.

Mostly, it's just a pleasure to watch Keaton and Nicholson learning new steps in an old dance, stumbling to grab at happiness before it's too late.