Roger Ebert

The idea of the president's daughter being held captive isn't blindingly original (it's an alarmingly dangerous occupation), but placing the story on a space station is a masterstroke, since we're about filled up to here with prison movies set on Earth.

Bully is a sincere documentary but not a great one. We feel sympathy for the victims, and their parents or friends, but the film helplessly seems to treat bullying as a problem without a solution.

I didn't laugh much. I don't think the Stooges are funny, although perhaps I might once have. Some of the sight gags were clever, but meh. The three leads did an admirable job of impersonation. I think this might be pretty much the movie Stooges fans were looking for.

Little by little, detail by detail, This Is Not a Film leads to a final scene of overwhelming power. I don't think it was even planned - no more than Panahi expected the little actress to take the cast off her arm. It simply happens, and then the film is over, having nothing more to say. Because, after all, it is not a film.

You know there's something wrong with a sex movie when the good parts are the dialogue.

This is a portrait of tunnel vision. Jiro exists to make sushi. Sushi exists to be made by Jiro.

Despite its flashy cinematography and colorful sets, it contains a great deal that is serious about growing up in America today.

American Reunion has a sense of deja vu, but it still delivers a lot of nice laughs.

Musical Chairs is a feel-good romantic fantasy that is likely to inspire a hollow laugh among some people in wheelchairs. Either it knows little about the realities of disability, or it knows too much.

This is a movie about a man who is past his shelf life. Sooner or later, he'll end up sitting in front of that cafe with the other guys. He knows it.

The charm of Goon is that Doug Glatt (Scott) is a genial guy from a nice family. Just because he hands out concussions doesn't mean he dislikes anybody. He's just happy to be wearing a uniform.

The film most of all is about Hester, who stares out the window and smokes.

Mirror Mirror is a sumptuous fantasy for the eyes and a pinball game for the mind, as story elements collide and roll around bumping into each other.

Wrath of the Titans relentlessly wore me down with special effects so overscale compared to the characters in the film that at times the only thing to do was grin.

The most mysterious character in The Kid With a Bike is not the kid, who after all, has a story it's fairly easy to understand. It is the hairdresser, played by Cecille De France with her sad beauty. This actress carries lifetimes in her eyes.

Delicacy is a sweetheart of a love story, and cornball from stem to stern.

October Baby is being promoted as a Christian film, and it could have been an effective one. Rachel Hendrix is surprisingly capable in her first feature role, and Jasmine Guy is superb in her scene. Unfortunately, the film as a whole is amateurish and ungainly, can't find a consistent tone, is too long, is overladen with music that tries to paraphrase the story and is photographed with too many beauty shots that slow the progress.

This film is about violence. All violence. Wall-to-wall violence. Against many of those walls, heads are pounded again and again into a pulpy mass. If I estimated the film has 10 minutes of dialogue, that would be generous.

An effective entertainment, and Jennifer Lawrence is strong and convincing in the central role. But the film leapfrogs obvious questions in its path, and avoids the opportunities sci-fi provides for social criticism.

Here is a story hammered together from discards at the Lunacy Factory. Attempting to find something to praise, I am reduced to this: Cage's performance is not boring.

The movie may leave you scratching your head way too much when it's over. Yet it proves Ben Wheatley not only knows how to make a movie, but he knows how to make three at the same time.