The director, Jared Hess, who made "Napoleon Dynamite," a film I admit I didn't get, has made a film I don't even begin to get.

This great film by Anthony Fabian tells this story through the eyes of a happy girl who grows into an outsider.

An idiotic ode to macho horseshite (to employ an ancient Irish word). It is however distinguished by superb cinematography.

The film may provide an introduction for some audience members to the Hitchcockian definition of suspense: It's the anticipation, not the happening, that's the fun.

[An] extraordinary documentary, nothing at all like what I was expecting to see. Here is not a sick and drugged man forcing himself through grueling rehearsals, but a spirit embodied by music. Michael Jackson was something else.

The movie contains less of its interesting story and more action and battle scenes than I would have preferred.

A perfectly sound biopic, well directed and acted, about an admirable woman. It confirmed for me Earhart's courage -- not only in flying, but in insisting on living her life outside the conventions of her time for well-behaved females. The next generation of American women grew up in her slipstream.

The movie has good special effects and suitably gruesome characters, but it's bloodless.

A comedy worthy of the best Woody Allen, and Adrian is not unlike Woody's persona: a sincere, intense, insecure nebbish, hopeless with women, aiming for greatness.

More than anything else, I responded to the performances. Feature films may be fiction, but they are certainly documentaries showing actors in front of a camera. Both Dafoe and Gainsbourg have been risk takers, as anyone working with von Trier must be. The ways they're called upon to act in this film are extraordinary. They respond without hesitation. More important, they convince.

The movie felt long to me, and there were some stretches during which I was less than riveted. Is it possible that there wasn't enough Sendak story to justify a feature-length film?

One of those movies you like more at the time than in retrospect.

Look at the cast and credits to form an idea of the directors and actors at work here. By its nature, New York, I Love You can't add up. It remains the sum of its parts. If one isn't working for you, wait a few minutes, here comes another one. New Yorkers, I love you.

Among the better things in the movie, I count Vaughn's well-timed and smart dialogue.

This happens in 1961, when 16-year-old girls were a great deal less knowing than they are now. Yet the movie isn't shabby or painful, but romantic and wonderfully entertaining.

It is 92 minutes of rage, acted by Tom Hardy.

Avoids all sports movie cliches, even the obligatory ending where the team comes from behind.

Rock conveys a lot of information, but also some unfortunate opinions and misleading facts. That doesn't mean the move isn't warm, funny, and entertaining.

Trucker sets out on a difficult and tricky path, and doesn't put a foot wrong.

This astonishing documentary, so beautiful, so horrifying.

The film is entertaining in its own right, and thought-provoking. Why don't more people quickly see through their hoaxes?

Who would have guessed such a funny movie as Zombieland could be made around zombies? No thanks to the zombies.

In its amiable, quiet, PG-13 way, The Invention of Lying is a remarkably radical comedy.

An unreasonably entertaining movie, causing you perhaps to revise your notions about women's Roller Derby, assuming you have any.

Have I mentioned A Serious Man is so rich and funny? This isn't a laugh-laugh movie, but a wince-wince movie. Those can be funny too.

The whole enterprise seems to be Isaacson's project. He narrates the film. Kristin, his wife, seems fully in accord with him, and they're both courageous, but I would have liked more insights from the side of her that teaches psychology.

A sad reflection of the new Hollywood, where material is sanitized and dumbed down for a hypothetical teen market that is way too sophisticated for it. It plays like a dinner theater version of the original.

The naturalism of Anne Fontaine's film would be at home in a novel by Dreiser. Her star Audrey Tautou, who could make lovability into a career, avoids any effort to make Coco Chanel nice, or soft, or particularly sympathetic.