At over two hours, The Winter Soldier could have easily been trimmed by a good 20 minutes, but if it’s spectacular imagery and duplicitous goings-on that you crave, the film will not disappoint.

It never really rollicks like a good political satire.

Suffers from a surplus of interviews and information that imbue it with a vague sense of overkill.

Millennium Actress has more layers to it than the proverbial onion, but Kon’s sure hand keeps things moving right along and into the next historical period.

Raises fascinating question within a compelling narrative framework, and is also intriguing for the glimpse it provides into the inner workings of Orthodox Judaism.

Suffers from a persistent case of narrative backsliding that only serves to make older members of the audience long for the days of the dwarves, beauties, and poisoned apples of Disney-yore, and younger ones squirm in their seats.

Junger has a deft touch with light comedy such as this; he manages to keep the film's convoluted plot spinning without resorting to too much gimmickry or descending to the level of so many teen comedies.

There’s enough intelligence and wit here to sustain your interest, especially when Curtis and Lohan are in peak form. They put the freak in this Freaky Friday.

Just plain unforgettable.

The movie isn't perfect – Spielberg-slick, its power is sometimes dampened by melodrama that overstates its message – but it is compelling and thought-provoking and topical as hell.

As he proves again, few directors have Jarecki's skill for pulling a massive stack of disparate themes – race, celebrity, power, wealth, drug addiction, poverty, militarism – into one coherent narrative.

Watching Matt and Anna discover the parameters of their friendship, and the impact they have on each other’s lives, is quite rewarding. Both Helms and Harrison nail the fluid nature of the tonal shifts as their bond tightens, loosens, and tightens once more.

Wonderfully fun, albeit markedly chaotic and incoherent.

In the game of eXistenZ it's not whether you win or lose, but how you play the game.

With so many soldiers interviewed, some only fleetingly, it's impossible to keep track of them all.

Banderas, taking time off from voicing kids' films and appearing in Robert Rodriguez outings, plays Ledgard with just the right amount of borderline-freaky, intensity, and Anaya is another of Almodovar's terrifically talented and shockingly beautiful female leads.

To question that this movie is a visual feast would be an act of real cynicism. But as the old Chinese proverb goes, "Gold and jade on the outside, rot and decay on the inside."

Painfully dunderheaded about the proclivities of the human heart.

Sunshine Superman is at times a bit too reverent with the material, and there are distracting reenactments (à la The Jinx and Man on Wire), some of which seem extraneous, but overall, the film is a sun-kissed tribute to a singular individual.

The plot is gripping and relatively fast-paced, and Winger and Russell are excellent counterpoints to each other -- Winger is earthy and likable, and Russell is sexy and sinister.

I think it's a mess, but - and this is a major caveat - an endearing, beautiful, hopelessly honest mess that's supported by a pair of performances so unnaturally natural that they draw you in and clutch you, struggling, to their flipping, flopping hearts.

It's a cuckoo's nest that's nicely feathered.

Wisely, a lot like the real event. No answers are given, barely any questions are asked, and the film unfolds at a leisurely, inexorable pace that stymies the traditional filmmaking tropes of tension and release.

Honestly, if it weren't for Denis' striking visual sense, the producers could make a small fortune marketing Nénette and Boni as a sleep aid. Granted, Colin and Houri are both delightful actors. The bond they create between these onscreen siblings is terrifically realized and fully developed, but it's far too little to sustain a film in which virtually nothing happens, despite the fact that it all looks so very good.

Though the movie delivers its chuckles and elicits its sighs in a calibrated narrative arc that softens the hard edges of its late bloomer’s life, it would be shortsighted to hastily dismiss Mrs. Harris Goes to Paris as sentimental escapist fare that quickly evaporates into the ether of silly romanticism.

While the film's depiction of bureaucratic frustrations and familial woe are universal, the characters themselves can be difficult to warm up to and often seem as arid as their surroundings.

A life-affirming documentary if ever there was one, A Brave Heart is a litmus test for gauging compassion, one I would recommend everyone take immediately.

Unfortunately, the actors don't all behave as though they're performing in the same movie.