It's a morality play, full of hopeless tosh. Still, Hitchcock manages to include a hallucination sequence and a highly suggestive spurt from a soda siphon. [12 Jan 2020]

It's notable for some astounding urban wildlife footage and for the way it unintentionally reflects the giddy narcissism of the primate known as homo sapiens.

As powerful as the movie is, it stays on the outside of a culture looking in.

LeBeouf may yet mature into an American James McAvoy — a charismatically spineless leading man — but Sarandon and her character have him and his character for lunch.

What appears at first to be a Euro variation on David Lynch's patented mind games, though, ultimately settles for more conventional pleasures. The movie makes sense, more's the pity, although you may need to see it twice to figure out how.

Few actors apart from Williams could bring it off.

How many bicycling movies are there, let alone ones that know from frame geometry? "Breaking Away" is probably the champ, followed by "American Flyers," the hilariously awful Kevin Bacon bike-messenger movie "Quicksilver," and then we're already into "The Bicycle Thief " and "Pee-wee's Big Adventure." It's a small pack, and The Flying Scotsman rides close to the front by default.

Lion is shameless and heartfelt and you’ll probably have a good, happy cry at the end. When a story pushes buttons so deeply wired into our consciousness...craft seems almost beside the point.

If the movie weren't so playfully dumb -- did you ever think you'd see Ian McShane throw Andy Samberg through a basement shelving unit? -- this would be exasperating.

The film moves slowly and steadily, but it's never exactly dull, just mild.

There’s some scary bad-guy stuff in the movie, but nothing to compare for fearfulness with its climactic forest fire.

It's a hell of a story, and Cadillac Records wants to tell it so badly that it threatens to warp the narrative out of recognition.

It's a smooth, compelling, almost suspenseful (more on that in a bit), and slightly hollow Hollywood period piece.

Disconnect is far from a bad movie. It’s just better at melodrama than drama.

A bizarre film.

Walking a line between droll comedy and a darker, more unsettling drama that the filmmakers aren’t quite up to, Frank is an entertaining curio with flashes of inspiration. That’s also a pretty good description of Frank’s music.

The film leaves you dissatisfied, as though you'd just spent two hours with a menagerie of plastic white people.

This is more than retro, it’s a re-imagination of the past, of the stories and role models that could have been available to Black audiences (and white ones) but weren’t. Better late than never.

Stone Cold trips up at the end, but it's still recommended for fans of the genre or Road Warrior fans out for a night of cinematic slumming. It snarls, it bites, it roars. [17 May 1992, p.32]

The movie is just a cheesy, preposterous, semi-eroticized way of yelling, "Fight! Fight!," when two people go at it in the school cafeteria.

The overall lack of subtlety is a riot - there's even a cautionary production of "Peter and the Wolf" happening in the background during one journalist-politician showdown at a Beltway gala. Still, it's a pleasure watching this cast make the most of the material.

Sloppy, crude, pursuing the most far-flung tangents in hopes of a laugh, Anchorman still gave me more stupid giggles than I'd care to admit.

Simultaneously overplotted and simplistic, the new barnyard/racecourse comedy from Warner Brothers is predictable every step of the way, and it contains at least three too many poop jokes.

Visually playful and often good fun, it never settles on a convincing narrative shape.

The idea that self-mockery makes people relax is tricky. One man's disarmament is another's minstrelsy, and the fine line is well worth another documentary.

So swollen with purpose, so titanically self-conscious in its mythmaking, that at times its nearly paralyzes itself with solemnity.

The cop-out is mitigated by Allen's ability to impart a comfortable, lived-in quality to his roles, this one included.

The Woman in the Window is a thriller, as you’ve no doubt figured out, but also has a throwback, Bette Davis vibe — Adams gets to do a lot of emoting — with a touch of horror movie thrown in.