No envelopes are pushed in Brave, which was directed by Brenda Chapman and Mark Andrews, and no genres are subverted. It's a safe experience; but safe, in this case, is better than sorry.

As deliciously eccentric as the real-life characters it chronicles.

It has the requisite amount of knockabout silliness.

The story's rambling, meandering style is just right for the melancholy subject being explored, and all the acting is excellent.

I’m not sure that anybody coming to this film to witness her for the first time would necessarily pledge eternal allegiance. Still, she’s sui generis, and in the theatre world, as in life (yes, there is an overlap), that counts for a lot.

Gwyneth Paltrow is enchanting as a self-confident young woman who decides to wile away her time by playing matchmaker for a friend whose romantic life would fare much better without interference.

The acting is excellent, and the movie has a good-natured spirit to match its ultimate faith in the hero's deep-down goodness.

The movie doesn’t delve especially deeply into the psychology of double-agentry, and the shifting viewpoints between Israelis and Palestinians flattens the drama instead of broadening it.

Effective action, solid suspense, excellent Ribisi, plus enough clichés to equal the grains of Gobi sand that fill the screen.

Baye and Lopez are excellent, as always.

The new Superman has its visionary charms, but there's only so far you can go without great characters.

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

What Trust conveys, at its best, is that ultimately parental protections are not fullproof, and that is the greatest horror of all.

Without Bening, whose performance is a watchful and laid-back marvel, 20th Century Women, written and directed by Mike Mills, would still be borderline worth seeing because of its supporting cast.

For all the film’s righteous anger and obeisance to Baldwin, it remains a baffling, amorphous construct.

There are fine, wry moments tucked inside the curdled whimsy.

It's a bewildering mix of very smart and very dumb, but the cast, which also features a hilarious Joan Cusack, Ben Kingsley, Marisa Tomei, Dan Aykroyd as the Cheney-esque ex-vice president, and Hilary Duff as a Turaqistan airhead pop star, is tiptop.

It has moments when the spiritual and the secular burst forth in stunning disarray.

Nothing in this film approaches the boy's-eye view of war that, say, John Boorman achieved in "Hope and Glory," but it's an affecting, if somewhat flavorless, journey.

Thoughtfully directed by the versatile Iain Softely from Hossein Amini's screenplay, which reduces James's intricately structured narrative to feature-film scale without losing the book's rueful psychological tone.

Tykwer doesn't aim for the heights of excitement and invention he reached in "Run Lola Run," but he blends an impressively varied palette of moods into an intriguingly unpredictable story that's never short of ideas.

The movie is often preachy and self-conscious, especially in long dialogue scenes, where Robbins's inexpert scriptwriting makes people talk at instead of with each other. Yet the picture's solid assets enable it to soar above such problems, both intellectually and emotionally. [29 December 1995, Film, p.13]

Redford gives one of his best performances ever in this taut, emotionally engrossing thriller.

Splendid acting, a screenplay as likable as it is unpredictable, and an undercurrent of deep human generosity make this a particularly engaging comic-dramatic experience.

Cash was a true anomaly: a poseur who was also the genuine article. A better movie would have made that contradiction its core.

It’s a miniature art history lesson that is also a rapt communion between two people who, at least in this moment, are joined in the ecstasy of creation.

De Villa's debut film is persuasively written and acted, if a tad rougher around the edges than one might wish.

Who would have guessed a documentary about Derrida, the great French philosopher of deconstruction and "différence," would be so entertaining?