Brilliant and heartbreaking, takes place in the present but is timeless.

The story touches many themes, lingers with some of them, moves on and arrives at nowhere in particular. It's not a story so much as a reverie about possible stories.

It needs a study guide, and viewing "Citizen Kane" might be a good place to start.

A very bad movie and a genuinely moving experience.

As Darabont directs it, it tells a story with beginning, middle, end, vivid characters, humor, outrage and emotional release. Dickensian.

I laughed, yes, I did, several times during Deuce Bigalow: Male Gigolo. That's proof, if any is required, that I still possess streaks of immaturity and vulgarity.

Intense, erotic and willful.

Kevin Bacon stars in one of his best performances.

This is a modest but likable film, and Anjelica Huston plays a heroine who makes us smile.

If the movie were not so downbeat and its literary pedigree so distinguished, the resolution would be soap opera.

The movie is not tidy. Like its heroine, it doesn't follow the rules.

A smaller picture like this, shot out of the mainstream, has a better chance of being quirky and original. And quirky it is, even if not successful.

Sean Penn('s) performances are master classes in the art of character development.

Movies like Tumbleweeds exist in the details, not the outcome. Even a happy ending, we suspect, would be temporary. We don't mind, since the characters have been intriguing to know and easy to care about.

Not a very entertaining movie; it's a long slog unless you're fascinated by the undercurrents.

There are forces here you couldn't possibly comprehend...You can say that again.

This isn't a made-for-video that they decided to put into theaters, but a version intended from the first to be theatrical. That's important, because it means more detail and complexity went into the animation.

More fable than slice of life, and all these people and props give Robert De Niro and Philip Seymour Hoffman their opening to create two screwy characters from opposite ends of the great personality divide

A splendid comic thriller, exciting and graceful, endlessly inventive.

This is the best-looking horror film since Coppola's "Bram Stoker's Dracula."

The characters have a weight and reality, as if Almodovar has finally taken pity on them--has seen that although their plights may seem ludicrous, they're real enough to hurt. These are people who stand outside conventional life and its rules, and yet affirm them.

This is an uncommonly intelligent film, smart and amusing too, and anyone who thinks it is not faithful to Austen doesn't know the author but only her plots.

Emerges as an accurate memory of that time when the American melting pot, splendid as a theory, became a reality.

This series should be sealed in a time capsule. It is on my list of the 10 greatest films of all time, and is a noble use of the medium.

If the film is less than perfect, it is because Smith is too much in love with his dialogue. Smith is a gifted comic writer who loves paradox, rhetoric and unexpected zingers from the blind side.

You leave Felicia's Journey appreciating it. A week later, you're astounded by it.

The movie's interest is not in the plot, which is episodic and "colorful," but in the performances.

The movie is a mess: a gassy costume epic with nobody at the center.