Roger Ebert

The movie is probably ideal for those proverbial young girls who adore cats, and young boys, too. I can't recommend it for adults attending on their own, unless they really, really love cats.

The result is too much formula and not enough human interest.

War Horse is bold, not afraid of sentiment and lets out all the stops in magnificently staged action sequences. Its characters are clearly defined and strongly played by charismatic actors. Its message is a universal one.

Here is one of the most entertaining films in many a moon, a film that charms because of its story, its performances and because of the sly way it plays with being silent and black and white.

It evokes Saturday afternoon serials in an age when most of the audience will never have seen one. I was surprised by how much I enjoyed myself.

Under the direction of David Fincher and with a screenplay by Steven Zaillian. I don't know if it's better or worse. It has a different air.

I enjoyed the film's look and feel, the perfectly modulated performances, and the whole tawdry world of spy and counterspy, which must be among the world's most dispiriting occupations. But I became increasingly aware that I didn't always follow all the allusions and connections. On that level, "Tinker Tailor" didn't work for me.

Using a dialogue-heavy approach that's unusual for Cronenberg, his film is skilled at the way it weaves theory with the inner lives of its characters. We are learning, yet never feel we're being taught.

The film's value is in its portrait of Ruth, and her independence as a solo outsider in a vast, uncaring city.

A terrific thriller with action sequences that function as a kind of action poetry.

Set aside your memories of the Conan Doyle stories, save them to savor on a night this winter and enjoy this movie as a high-caliber entertainment.

Edmon Roch's Garbo the Spy is an engrossing documentary that is itself largely a work of the director's imagination.

A delight on its own terms, even if it has little to do with the real Goethe; here is a randy young man not a million miles apart from Tom Jones.

This profound and immensely touching film in only 75 perfect minutes achieves the profundity of an epic.

I am so very, very tired of movies like this. Does the story line strike you as original? It sounds to me like another slice off the cheesecake of dreck.

New Year's Eve is a dreary plod through the sands of time until finally the last grain has trickled through the hourglass of cinematic sludge. How is it possible to assemble more than two dozen stars in a movie and find nothing interesting for any of them to do?

Patton Oswalt is, in a way, the key to the film's success. Theron is flawless at playing a cringe-inducing monster and Wilson touching as a nice guy who hates to offend her, but the audience needs a point of entry, a character we can identify with, and Oswalt's Matt is human, realistic, sardonic and self-deprecating. He speaks truth to Mavis.

This isn't the kind of movie that even has hope enough to contain a message. There is no message, only the reality of these wounded personalities.

The interlocking stories are theoretically about people whose lives are associated; that worked in "Crash." Here the connections seem less immediate and significant, and so the movie sometimes seems based on a group of separate short stories.

Here's a Brazilian thriller that's so angry and specifically political, it's hard to believe they got away with making it.

There's a freedom in his structure. This isn't a formal documentary, but as I mentioned, a meander.

This is a great act of filmmaking and acting. I don't believe I would be able to see it twice.

Did I care if Largo Winch won his struggle for control of Winch International? Not at all. Did I care about him? No, because all of his action and dialogue were shunted into narrow corridors of movie formulas.

The film, written and directed by Joe Maggio, only has this handful of characters and looks at them carefully. The dialogue is right, the conflicts are simple and sincere, the hopes are touching.

Backstage at the Muppet works, we see countless drawers filled with eyeballs, eyebrows, whiskers and wigs. It's the only world Kevin wanted to live in, and he made it.

The movie seems to be a fairly accurate re-creation of the making of a film at Pinewood Studios at that time. It hardly matters. What happens during the famous week hardly matters. What matters is the performance by Michelle Williams.

A funny, wickedly self-aware musical that opens by acknowledging they've outlived their shelf life.

The way Hugo deals with Melies is enchanting in itself, but the film's first half is devoted to the escapades of its young hero. In the way the film uses CGI and other techniques to create the train station and the city, the movie is breathtaking.