The filmmakers may be just as clueless as Buddy when it comes to Mavis, who resembles nothing so much as a snooty stalker.

Hollywood is notorious for giving its second-best roles to women, and the situation clearly hasn't changed when a superficial romp like Postcards From the Edge represents the best a major studio can come up with in exploring women's issues. [25 Oct 1990, p.14]

What this film is really about is how interconnected we all are, like it or not, on the Internet, and how alluring and alarming this can be.

The acting is excellent and Penn reconfirms his remarkable talent for muted, understated filmmaking that focuses on character and dialogue rather than spectacle and sensationalism.

Has a graceful simplicity that many will find hard to resist.

It's an uneven film, but Dickens admirers shouldn't miss it.

In addition to its own merits as a social and cultural document, Broomfield's film continues the welcome trend of more and more nonfiction movies finding their way to theater screens and attracting wide general audiences.

At heart this is a cuteness exploitation flick.

The coolness here has its creepiness, as in the dispassionate way Fincher depicts Lisbeth's rape and her subsequent, harrowing revenge, but the suspicion remains: Fincher didn't make this movie his own because he doesn't consider it his own.

A thriller so tricky that figuring it out is half the fun.

The Booksellers is a documentary for people who treasure the sheer look and feel of books. It is for anyone who has ever spent way too much time in used and rare bookstores teetering on tall ladders or squeezing through narrow, tome-filled aisles in search of that most precious of commodities: the book you didn’t know you needed until you found it – or, to be more precise, it found you.

At a time when many of us look to comedy to keep us sane, the question is especially pertinent, although the answers here aren’t especially penetrating.

I don't wish to give offense here, but it certainly doesn't hurt that Mary Lou is voiced by that famously small bundle of energy Isla Fisher. (She's 5-foot-2.)

This latest movie adaptation sustains a consistent note of measured mirth. As in the novel, the romantic flippancies have a serious core because at stake is nothing less than the prospect of an enduring happiness.

French filmmaker Louis Malle is a storyteller capable of reinventing his style to suit every new project, but his ideas aren't dynamic enough to overcome the triteness of the basic idea or the overheated nature of the sex scenes, which have been trimmed down....Jeremy Irons gives a smart and sensitive performance, though, and Juliette Binoche and Miranda Richardson are also strong. [8 Jan 1993, p.14]

Loses much of the book's complexity but gains dramatic power from a cleverly streamlined screenplay... and several persuasive performances. No previous movie has made Austen's vision seem so vivid and alive for contemporary times.

The movie gains a few points for its colorfully filmed Boston background and bright bossa-nova music. But it's filmed in a fake-spontaneous style that's as stale and artificial as the relationships between the characters.

The picture makes up in energy and high spirits what it lacks in structure and style.

Marion Cotillard’s Lady Macbeth, however, is a triumph. She seems transfixed by her own capacity for evil, and her mad scene is one of the most unhistrionic, and therefore spookiest, ever filmed.

Warrior becomes increasingly shameless until, by the end, with the big fights fought, we are clearly meant to rise as one and applaud the indomitability of the human spirit. But the only indomitable thing about Warrior are its clichés.

Ross's comedy isn't as inventive as "The Truman Show," which it resembles in some ways, but it explores interesting ideas with nimble humor.

Solid acting helps the story stay earthbound when Aronofsky's filmmaking gets addicted to its own flashy cynicism, but the picture sometimes seems as dazed and confused as the situations it wants to criticize.

There are some great, rapturous moments in Where the Wild Things Are. Jonze is humbled before the wonders of a child's imagination, and so are we.

The film makes clear that the soft-spoken, diminutive Ginsburg fought early and hard for gender equality in the courts in her own steadfastly clearsighted way. She’s the opposite of a late bloomer.

Lelouch means to transcend the genre. He doesn't really move much beyond his usual glib panache here, but the plot is intriguing and so are the actors.

Malkovich is wryly amusing as German director F.W. Murnau, and Dafoe steals the show as a vampire playing an actor playing a vampire.

Funny, sad, and tinged with magic realism, this ambitious comedy-drama is as original as it is nimbly directed.

Harrowing, realistic, humanistic.