Roger Ebert

Is this some kind of a test? The Hangover, Part II plays like a challenge to the audience's capacity for raunchiness.

Here is a good and joyous man who leads a life that is perfect for him, and how many people do we meet like that? This movie made me happy every moment I was watching it.

The movie is fun until they set sail.

Meek's Cutoff is more an experience than a story. It has personality conflicts, but isn't about them. The suspicions and angers of the group are essentially irrelevant to their overwhelming reality. Reichardt has the courage to establish that.

At the end, I was expecting more of an emotional payoff; making a movie calm is one thing, and making it matter-of-fact is another. But make a note about Will Ferrell. There is depth there.

Bridesmaids seems to be a more or less deliberate attempt to cross the Chick Flick with the Raunch Comedy. It definitively proves that women are the equal of men in vulgarity, sexual frankness, lust, vulnerability, overdrinking and insecurity.

The bottom line: I am convinced this message is true.

Here is an unsuccessful movie with some surprisingly successful scenes. It has moments when it is electrifying and passages where it slows to a walk.

A charming documentary about the finalists in the Teenage Magician Contest at the annual World Magic Seminar in Las Vegas.

As good as Gibson is, his character is still caught between the tragedy of the man and the absurdity of the Beaver. Fugitive thoughts of Señor Wences crept into my mind. I'm sorry, but they did.

The cast is large, well chosen and diverting. The ceremony is delightful.

All of the characters are treated sincerely and played in a straightforward style. It's just that we don't love them enough.

He is one of the most prolific and generous of directors, and there is no word that summarizes a "Tavernier film," except, usually, masterful.

What I enjoyed was the way the film summons up the pure obsessive passion that chess stirs in some people.

Siskel and Jacobs focus on the performances, which are inspiring and electrifying.

What it all comes down to is a skillfully assembled 130 minutes at the movies, with actors capable of doing absurd things with straight faces, and action sequences that toy idly with the laws of physics.

Spellbinding.

Director Jim Mickle, who co-wrote the film with his star Nick Damici, has crafted a good-looking, well-played and atmospheric apocalyptic vision.

Most people do not choose their religions but have them forced upon themselves by birth, and the lesson of Incendies is that an accident of birth is not a reason for hatred.

Reeves has many arrows in his quiver, but screwball comedy isn't one of them.

Give Shadyac credit: He sells his Pasadena mansion, starts teaching college and moves into a mobile home (in Malibu, it's true). Now he offers us this hopeful if somewhat undigested cut of his findings, in a film as watchable as a really good TV commercial, and just as deep.

This question, which will instinctively occur to many viewers, is never quite dealt with in the film. The photographers sometimes drive into the middle of violent situations, hold up a camera, and say "press!" - as if that will solve everything.

The movie is quick and cheerful, and Spurlock is engaging.

In an age of prefabricated special effects and obviously phony spectacle, it's sort of old-fashioned (and a pleasure) to see a movie made of real people and plausible sets.