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.

The secrets of the plot must remain unrevealed by me, so that you can be offended by them yourself, but let it be said this movie is about as corrupt, intellectually bankrupt and morally dishonest as it could possibly be without David Gale actually hiring himself out as a joker at the court of Saddam Hussein.

The kind of movie beloved by people who never go to the movies, because they are primarily interested in something else--the Civil War, for example--and think historical accuracy is a virtue instead of an attribute.

Music was the ANC's most dangerous weapon, and we see footage of streets lined with tens of thousands of marchers, singing and dancing, expressing an unquenchable spirit.

David Gordon Green's second film, is too subtle and perceptive, and knows too much about human nature, to treat their lack of sexual synchronicity as if it supplies a plot.

The movie is so gloriously bloody-minded, so perverse in its obstinacy, that it rises to a kind of mad purity. The longer the movie ran, the less I liked it and the more I admired it.

Thin and unsatisfying.

The movie is, in short, your money's worth, better than we expect, more fun than we deserve.

A meandering documentary, frustrating when Moskowitz has Mossman in his sights and still delays bagging him while talking to other sources. But at the end, we forgive his procrastination (and remember, with Laurence Sterne and Tristam Shandy that procrastination can be an art if it is done delightfully).

Bounds from one gag to another like an eager puppy.

It proceeds so deliberately from one plot point to the next that we want to stand next to the camera, holding up cards upon which we have lettered clues and suggestions.

The movie subtly darkens its tone until, when the horrifying ending arrives, we can see how we got there. There is a final shot that would get laughs in another kind of film, but May earns the right to it, and it works, and we understand it.

I am just about ready to write off movies in which people make bets about whether they will, or will not, fall in love.

Lost in La Mancha, which started life as one of those documentaries you get free on a DVD, ended as the record of swift and devastating disaster.

All of this is intriguing material, but the movie doesn't do much with it.

It's the kind of movie you can sit back and enjoy, as long as you don't make the mistake of thinking too much.

Perhaps movies are like history, and repeat themselves, first as tragedy, then as farce.

A mordant and bleak comedy, almost without dialogue, about Palestinians under Israeli occupation.

Breathtaking and terrifying, urgently involved with its characters, it announces a new director of great gifts and passions: Fernando Meirelles.

The success of Crimson Gold depends to an intriguing degree on the performance of its leading actor, a large, phlegmatic man.

There is one cool, understated scene after another.

It is as assured and flawless a telling of sadness and joy as I have ever seen.

Would it have been that much more difficult to make a movie in which Tom and Sarah were plausible, reasonably articulate newlyweds with the humor on their honeymoon growing out of situations we could believe? Apparently.

As for myself, I think he made it all up and never killed anybody. Having been involved in a weekly television show myself, I know for a melancholy fact that there is just not enough time between tapings to fly off to Helsinki and kill for my government.

The movie proceeds with a hypnotic relentlessness that hesitates between horror and black comedy.

The movie is a dazzling song and dance extravaganza, with just enough words to support the music and allow everyone to catch their breath between songs.

The closing scenes of the movie involve Szpilman's confrontation with a German captain named Wilm Hosenfeld -- Polanski's direction of this scene, his use of pause and nuance, is masterful.

A peculiar and intriguing film.