Richard Corliss

In its pagan fervor, this is an almost religious experience.

The Squid and the Whale is domestic tragedy recollected as comedy: a film whose catalog of deceits and embarrassments, and of love pratfalling over itself, makes it as (excruciatingly) painful as it is (exhilaratingly) funny.

Three of the hippest indie film princes make a perfect commercial comedy.

The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.

The Trip may have familiar elements - it's pretty much "My Dinner With Andre" pinned to the plot of Alexander Payne's "Sideways" - but the badinage provides an immediate and lasting kick, as well as the spectacle of two champion combatants at the top of their game.

Enjoy the savory witches' brew that Cuaron has cooked up in his Harry pot. For on its own terms, this one is truly wizard.

McConaughey's fans might be shocked to see him in this role - more likely, they'd skip the opportunity - but they ought to give his performance a shot. The dimpled demon lover proves he can be just as seductive playing Texas's creepiest, craziest cop.

This Mummy movie is really two movies: a good adventure epic, with all the Chinese people, and a wan one, with O'Connells and the other the Westerners.

But it also has enough buoyant '70s music to shake anybody's tail feather, and a kind of easy jubilance of narrative and character. Bet it makes you wanna dance. [11 Oct 1993]

Hanks has a wonderful scene, late in the film, that shows a strong man collapsing into frailty. It hints at the emotional depth the movie might have plundered. The rest of Captain Phillips must rely for its drive on the relentless mechanical agitation of Henry Jackman’s score. It can’t save an overly muscled docudrama that is more pounding that truly gripping.

It stands, soars on its own. It moves to a seductive rhythm and vision.

The sweetest and funniest of Guest's true-life fake-umentaries.

It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.

Fresh alchemizes the terrifying cliches of urban melodrama into annihilating poetry.

A gross-your-eyes-out horror movie that is also the year's most poignant romance.

Master and Commander is to movies what Russell Crowe is to acting. With subtlety and power, it explores the complexities of men at war, even with themselves. It puts the passion into action, and the thrill into thought.

Untraceable really is disgraceable. It's bad enough when a movie offers up atrocity scenes that would make the Nanking soldiers seem like Hannah Montana; it's repellent when the movie dresses up the sadism in a moral message that condemns the very weakness it is exploiting.

The film causes no tremors, only a hemi-Demme-semiquaver.

Tatum’s is the central performance: most daring because it’s least giving. He has often played young men of thick athleticism and slow wit. It’s proof of Tatum’s intelligence that he can make the audience feel smarter than the characters he plays – until they reveal a sly brilliance halfway through the movie.

Never quite transcending the sum of its agreeably disparate parts, IV is less groovy than gnarled and goofy, but in a studied way. Call it an acquired taste with a kinky savor.

You can try not liking this adaptation of the Off-Broadway musical hit -- it has no polish and a pushy way with a gag -- but the movie sneaks up on you. [29 Dec 1986, p.71]

The best, surely the smartest, English-language movie of the year to date.

A British romantic comedy with not much inside its pretty head but the spinning out of an ancient Hollywood riddle.

A pastiche that's nearly as funny as it is long (2hr. 45min.), and quite as politically troubling as it may be liberating, Django Unchained is pure, if not great, Tarantino.

You get 45 minutes of awesome encased in 90 minutes of yawnsome.

Most of the movie is Actors Acting: gifted guys (Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn) running nattering riffs on familiar lout themes. [16 Nov 1992]

While trading on viewers’ familiarity with the series’ venerable fetishes (a cheer rises at the sight of Bond’s old Aston Martin and the sound of Monty Norman’s guitar theme from Dr. No), Skyfall has the life, grandeur and gravity of a satisfying, stand-alone entertainment.

For stretches of the film, von Trieria is as welcome as Siberia. You must stay to the end for a potent payoff, when the tragic magic of the opening scenes is reasserted.