While Mirren and McKellen are as wonderful as you’d expect, especially in the early going when their respective characters are just getting to know one another, even these two legendary talents can’t overcome a convoluted, unfocused and increasingly implausible storyline.

One only wishes Walker had stronger, better developed material instead of a promising drama that eventually unravels and seems overlong even with a running time of 96 minutes.

Beautifully designed, intelligently written, acted with conviction, it's an uncommonly thoughtful epic. Its power is compromised only by an ending that sheepishly backs away from what the film is really about.

Sometimes you see a play and you can imagine it being a movie. Sometimes you see a small movie like this, and you can imagine it working better as an intimate stage play.

This ensemble piece plays like “Crash” in a minor note, with one heavy-handed scene after another, all leading up to an ambivalent, unsatisfying ending.

So many great actors, cast adrift by a script that feels incomplete and a brilliant director delivering one of his lesser works.

This is a movie that has its commercial concept written all over it; it's so painstakingly crafted as a product that the messy spontaneity of life is rarely allowed to interrupt.

Nothing about The D Train feels the least bit authentic, and worse, little about it is funny.

Dolls remains only an idea, a concept. It doesn't become an engine to shock and involve us.

You will either be in sympathy with it, or not. Much depends on what you bring into the theater. It is possible that those who know most about Nijinsky will be most baffled, because this is not a film about knowing, but about feeling.

The point is to show us what can be done with recycled traditional animation in the IMAX 3-D process, and the demonstration is impressive.

Now Singleton, too, dares to take a hard look at his community. His characters are a little older, and he is older, too, and less forgiving.

In a miraculous gift to the audience, 20th Century-Fox does <I>not</I> reveal all of the best gags in its trailer.

It's sweet when it should be raunchy, or vice versa, and the result is a movie that seems uneasy with itself.

Either this is a tragic family or a satirical one, and the film seems uncertain which way to jump.

With echoes of “Back to the Future,” “The Terminator” and even a little of “Heaven Can Wait,” this is a consistently entertaining comedy-actioner with a lot of heart — and the perfect ending. Fine work, Adam(s).

The problem is, the story lacks originality and zest.

The movie breaks down into anecdotes that don't flow or build, and everything is narrated by the Gilot character.

Amidst all the fireworks and the cascading champagne and the insanely over-the-top parties, we’re reminded again and again that The Great Gatsby is about a man who spends half a decade constructing an elaborate monument to the woman of his dreams.

The whole movie, in fact, is smarter than most contemporary thrillers. It gives us credit for being able to figure things out, and it contains characters who are devilishly intelligent. Almost smart enough, we think for a while, to really pull this thing off.

I Am Ali serves as further testimony Ali wasn’t simply a great boxer, he was a great man who happened to be a great boxer as well.

The movie has been slapped together by director Todd Phillips, who careens from scene to scene without it occurring to him that humor benefits from characterization, context and continuity. Otherwise, all you have is a lot of people acting goofy.

What I did appreciate is that City of Angels is one of the few angel movies that knows one essential fact about angels: They are not former people. &#148;Angels aren't human. We were never human,&#148; observes Seth. This is quite true. Angels are purely spiritual beings.

A mild pleasure from one end to the other, but not much more. Maybe that's enough, serving as a reminder that movie comedies still can be about ordinary people and do not necessarily have to feature vulgarity as their centerpiece.

Fat Kid Rules the World is a movie with a title that might be misleading: It's a lot better than it sounds like it has any right to be.

The three films of Body Bags were horrid, but they weren't horrifying. [06 Aug 1993, p.67]

All of the actors play without winks and spins, unless you consider Lebowskism itself a wink and spin.

Singleton's film is interesting for a lot of reasons, but especially because he stands outside this campus system and looks at it with a detached eye.