The movie's races are thrilling because they must be thrilling; there's no way for the movie to miss on those, but writer-director Gary Ross and his cinematographer, John Schwartzman, get amazingly close to the action.

The fancy stuff and foolery impedes the story and its emotions; the underlying story was strong enough that maybe a traditional narrative would have been best, after all.

A vanity production beyond all reason. I am not sure, however, than the vanity is Dylan's. I don't have any idea what to think about him.

The strength of the thriller genre is that it provides stories with built-in energy and structure. The weakness is that thrillers often seem to follow foreseeable formulas. Frears and his writer, Steve Knight, use the power of the thriller and avoid the weaknesses in giving us, really, two movies for the price of one.

The movie is not in any sense a musical featuring this band (which, as nearly as I could tell, does not have a name). The soundtrack has a lot of music, freely selected from pop hits old and new, but the running gag is that the band never gets to play, and so we never get to hear it.

Masterful at concealing its true nature and surprising us with the turns of the story.

I watched the movie with interest, yes, but not emotional involvement, and my appreciation of Moore was based more on her essence than on her character.

The movie is so choppy in its nervous editing that a lot of the time we're simply watching senseless kinetic action.

Kurosawa was a great artist and so even his lesser work is interesting -- just as we would love to find one last lost play, however minor, by his hero Shakespeare.

9/11 was a savage and heartless crime, and after the symbolism and the history and the imagery and the analysis, that is a point that must be made.

Plays like a tired exercise, a spy spoof with no burning desire to be that, or anything else.

You can laugh at lines like: "Hey, everybody, let's go inside and eat some cake"; "Leave your stupid comments in your pocket!"; "Man, I just can't figure women out. Sometimes they're just too smart. Sometimes they're flat out stupid. Other times they're just evil." In Wiseau's worldview, if "The Room" were a woman, she wouldn't be "evil" or "too smart." That leaves "flat-out stupid." [12 Feb 2012, p.B2]

We like these people, which is important, and we are amused by them, which is helpful, but most of all we envy them, because they negotiate their romantic perplexities with such dash and style.

Just when it seems about to become a real corker of an adventure movie, plunges into incomprehensible action, idiotic dialogue, inexplicable motivations, causes without effects, effects without causes, and general lunacy. What a mess.

Wise and subtle in the way it presents its older man. A less interesting movie would make him lustful and self-deceiving, a man who believes his is the secret of eternal youth and virility.

There has never been a movie quite like Northfork… The movie is visionary and elegiac, more a fable than a story, and frame by frame, it looks like a portfolio of spaces so wide, so open, that men must wonder if they have a role beneath such indifferent skies.

It's a good thing that Geoffrey Rush and Johnny Depp are on hand to jack up the acting department. Their characters, two world-class goofballs, keep us interested even during entirely pointless swordfights.

That it works is because of the high-energy animation, some genuinely beautiful visual concepts and a story that's a little more sensuous than we expect in animation.

After it is over, you will want to go back and think things through again, and I can help you by suggesting there is one, and only one, interpretation that resolves all of the difficulties, but if I told you, you would have to kill me.

In the real world, Elle Woods would be chewed up faster than one of little Bruiser's Milk-Bones.

Is Terminator 3 a skillful piece of work? Indeed. Will it entertain the Friday night action crowd? You bet. Does it tease and intrigue us like the earlier films did? Not really.

The film's redeeming feature is that it knows how sad these people are, and finds the correct solution to their problems: They meet in the flesh.

A tough, smart, ingenious movie that leads its characters into situations where everything depends on their (and our) understanding of human nature.

Harmless, brainless, good-natured fun.

Emma writes everything down and then offers helpful suggestions, although she fails to supply the most useful observation of all, which would be to observe that the entire novel is complete crap.

Ang Lee has boldly taken the broad outlines of a comic book story and transformed them to his own purposes; this is a comic book movie for people who wouldn't be caught dead at a comic book movie.

This movie could obviously go on fooling us forever, but we are good sports only up to a point, and then our attention drifts. Shame, since there's so much good stuff in it, like how effortlessly Rachel Griffiths keeps two tough guys completely at her mercy.

The film is bold and passionate, but not subtle, and that is its downfall.