Roger Ebert

This is a good film, involving and wonderfully acted. I was drawn into the characters and quite moved, even though all the while I was aware it was a feel-good fable, a story that deals with pain but doesn't care to be that painful.

The movie is above all entertaining, if you enjoy human grotesquerie and flamboyant acting. Let's face it: Many of us do. There's a reason Hannibal Lecter remains the most popular villain in the movies.

On the surface, this film is an enchanting meditation. At its core is the hard steel of individuality.

The Guard is a pleasure. I can't tell if it's really (bleeping) dumb or really (bleeping) smart, but it's pretty (bleeping) good.

The movie therefore offers meager pleasures of character. Where it excels is in staging and cinematography. The running sequences, in races, on city streets and through forests, are very well-handled.

Each scene works within itself on its own terms. But there is no whole here. I've rarely seen a narrative film that seemed so reluctant to flow. Nor perhaps one with a more accurate title.

One of the dirtiest-minded mainstream releases in history. It has a low opinion of men, a lower opinion of women, and the lowest opinion of the intelligence of its audience. It is obscene, foulmouthed, scatological, creepy and perverted.

The movie has its pleasures, although human intelligence is not one of them. Caesar, to begin with, is a wonderfully executed character, a product of special effects and a motion-capture performance by Andy Serkis, who earlier gave us Gollum in "Lord of the Rings."

What's impressive is how well this film joins its parts into a whole.

The standards for comic book superhero movies have been established by "Superman," "The Dark Knight," "Spider-Man 2" and "Iron Man." In that company "Thor" is pitiful. Consider even the comparable villains (Lex Luthor, the Joker, Doc Ock and Obadiah Stane). Memories of all four come instantly to mind. Will you be thinking of Loki six minutes after this movie is over?

Cuts back and forth between a tragic story involving the Holocaust and an essentially trivial, feel-good story about a modern-day reporter. It's an awkward fit and diminishes the impact of the earlier story.

It's manipulative, yes, but clever and persuasive in its manipulations.

The movie, which should have been titled "Defend the Block," illustrates once again that zombie, horror and monster movies are a port of entry for new filmmakers. The genre is the star.

Cowboys & Aliens has without any doubt the most cockamamie plot I've witnessed in many a moon.

The strength of the movie, however formulaic its structure, is that it is slightly more thoughtful about its characters. It's not deep, mind you, but it considers their problems as more than fodder for comedy.

Soppy and sentimental, it evokes "Divine Secrets of the Ya-Ya Sisterhood" without improving on it.

Movies about high school misfits are common; this is an uncommon one. Terri, so convincingly played by Jacob Wysocki, is smart, gentle and instinctively wise.

It goes without saying it's preposterous. But it has the texture and takes the care to be a full-blown film.

The news about this movie is that it makes it clear that both Timberlake and Kunis are the real thing when it comes to light comedy.

It's a shaky-cam meander through an unconvincing relationship, with detours considering the process of making the film. At 91 minutes, it seems very long.

It is a spellbinding enigma, and one of the damnedest films Morris has ever made.

The whole program could make a nice introduction to moviegoing for a small child.

This movie is impressively staged, the dialogue is given proper weight and not hurried through, there are surprises which, in hindsight, seem fair enough, and "Harry Potter" now possesses an end that befits the most profitable series in movie history.

Sara Forestier is uninhibited in the role and has great comic energy. She won the Cesar for best actress for this performance.

The movie suggests that humans benefitted little from Project Nim, and Nim himself not at all.

The performances are pitch perfect, even including Gabriel Chavarria as Ramon, the man who steals the truck. It adds an important element to the film that he embodies a desperate man, not a bad one.

It's not the romcom that's so entertaining, anyway; it's the slapstick.

Funny and dirty in about that order.