A wise and touching film with a lot of love in it. I may have given the wrong impression: It's not entirely about drinking, it's just entirely about a drinker.

A film with a rich and convincing texture, a drama with power and anger.

The movie did make me smile. It didn't make me laugh, and it didn't involve my emotions, or the higher regions of my intellect, for that matter. It's a perfectly acceptable feature cartoon for kids up to a certain age, but it doesn't have the universal appeal of some of the best recent animation.

It is not often that a movie catches exactly what it was like to be this person in this place at this time, but Jarhead does.

A sweet and touching film, worth a visit.

It leads to one of those endings where you sit there wishing they'd tried a little harder to think up something better.

There will be holiday pictures that are more high-tech than this one, more sensational, with bigger stars and higher budgets and indeed greater artistry. But there may not be many with such good cheer.

The Legend of Zorro commits a lot of movie sins, but one is mortal: It turns the magnificent Elena into a nag.

There are some one-liners that zing not only with humor but truth. On the whole I was satisfied.

This film has moments of uncommon observation and touching insight.

Intended as a thriller of sorts, although Antonioni is, as always, too deeply involved in the angst of his characters to bother much with the story. (Review of Original Release)

What all three of these stories share is the quality found in Edgar Allan Poe, H.P. Lovecraft and Stephen King: An attention to horror as it emerges from everyday life as transformed by fear, fantasy and depravity.

Watching Doom is like visiting Vegas and never leaving your hotel room.

A well-made use of familiar materials.

A tender and perceptive film.

The ending is an explanation, but not a solution. For a solution we have to think back through the whole film, and now the visual style becomes a guide. It is an illustration of the way the materials of life can be shaped for the purposes of the moment.

Kiss Kiss, Bang Bang contains a lot of comedy and invention, but doesn't much benefit from its clever style. The characters and plot are so promising that maybe Black should have backed off and told the story deadpan, instead of mugging so shamelessly for laughs.

Once in a blue moon a movie escapes the shackles of its genre and does what it really wants to do. Kids in America is a movie like that. It breaks out of Hollywood jail.

It's fractured and maddening, but it's alive.

Nowhere near one of Crowe's great films (like "Almost Famous"), but it is sweet and good-hearted and has some real laughs.

Kevin Bacon is on a roll right now after several good roles, and here he channels diabolical sleaze while mugging joylessly before the telethon cameras.

After "Monster," here is another extraordinary role from an actress [Theron] who has the beauty of a fashion model but has found resources within herself for these powerful roles about unglamorous women in the world of men.

Effective without being overwhelming.

Developments unfold according to the needs of the characters. The movie is not about springing surprises on us, but about showing these people in a process of discovery. The performances are not pitched toward melodrama; the actors all find the right notes and rhythms for scenes in which life goes on and everything need not be solved in three lines of dialogue.

A movie like this, with the appearance of new characters and situations, focuses us; we watch more intently, because it is important what happens.

The movie is a great American document, but it's also entertaining. (Review of Original Release)

The other key character is McCarthy himself, and Clooney uses a masterstroke: He employs actual news footage of McCarthy, who therefore plays himself.

Like an Astaire and Rogers musical, this is a movie you don't go to for the dialogue.