Roger Ebert

The screenplay carries blandness to a point beyond tedium.

It's chirpy, it's bright, there are pretty locations and lots happens. This is the kind of movie that can briefly hold the attention of a cat.

A visually ugly film with an incoherent plot, wooden characters and inane dialog. It provided me with one of the more unpleasant experiences I've had at the movies.

Of these characters, the rival played by Lucy Punch is the most colorful, because she's the most driven and obsessed. The others seem curiously inconsequential, content to materialize in a scene, perform a necessary function and vaporize.

A lot of Trollhunter - but not enough - is funny. I imagine the best way to see the movie would be the way it was presented at Sundance, at a "secret" midnight screening at which the capacity audience allegedly has no idea what it is about to see.

A film like The Last Mountain fills me with restless anger. I have seen many documentaries like this, all telling versions of the same story.

What I was left with was the goodness of Buck Brannaman as a man. He was dealt a hand that might have destroyed him. He overcame his start and is now a wise and influential role model. He does unto horses as he wishes his father had done onto him.

This is not to say Conan O'Brien is a bad man. In fact, after the movie, I rather admired him. What we are seeing is a man determined to vindicate himself after a public humiliation.

Cars 2 is fun. Whether that's because John Lasseter is in touch with his inner child or mine, I cannot say.

Pleasant and well-acted and easy to watch.

This is a great deal more entertaining than it sounds, in large part because the two actors are gifted mimics - Brydon the better one, although Coogan doesn't think so.

The movie stars Jim Carrey, who is in his pleasant mode. It would have helped if he were in his manic mode, although it's hard to get a rise out of a penguin.

Green Lantern does not intend to be plausible. It intends to be a sound-and-light show, assaulting the audience with sensational special effects. If that's what you want, that's what you get.

Here is a film that invites philosophical musing. Made without dialogue and often in long shots, it regards the four stages of existence in a remote Italian village.

If someone could give you a pill that allowed you to live for 500 years, would you take it? Not me.

A consistently entertaining documentary bringing together a remarkable variety of surviving performances on films and records, going back to circa 1900.

A film that little kids might find perfectly acceptable. Little, little, little kids. My best guess is, above fourth-grade level, you'd be pushing it.

Unfortunately, I was also convinced that trapped within this 98-minute film is a good 30-minute news report struggling to get out. Shearer, who is bright and funny, comes across here as a solemn lecturer.

A film like this can end honestly in only one way, and Ku is true to it. Life will go on, one baffling day after another. There can be no release, only a gradual deadening.

This film is an affront. It is incoherent, maddening, deliberately opaque and heedless of the ways in which people watch movies.

Submarine isn't an insipid teen sex comedy. It flaunts some stylistic devices, such as titles and sections and self-aware narration, but it doesn't try too hard to be desperately clever.

One of the pleasures of Beginners is the warmth and sincerity of the major characters. There is no villain. They begin by wanting to be happier and end by succeeding.

A wonderful film, nostalgia not for a time but for a style of filmmaking, when shell-shocked young audiences were told a story and not pounded over the head with aggressive action.

A remarkable documentary that's also one of the most beautiful nature films I've seen.

The only other film I've seen with this boldness of vision is Kubrick's "2001: A Space Odyssey," and it lacked Malick's fierce evocation of human feeling.

X-Men: First Class is competent weekend entertainment. It is not a great comic book movie, like "Spider-Man 2," or a bad one, like "Thor." It is not in 3-D, which is a mercy.

What it comes down to is: Pierre is a lousy adulterer. He lacks the desire, the reason and the skill.

The film is terrifically entertaining, an ambitious big-budget epic, directed with great visuals and sound by Takeshi Miike.