The story itself holds up fairly well though, twenty years later, does come off as thinner than I recalled. [2002 re-release]

In the end, my question is whether Never Rarely Sometimes Always is meant to be just a story or offer something political to say in the great abortion debate. I’m certain the film exists to highlight the stories of young women forced to travel across state lines for abortions. Either way, there’s not enough of either to make it a compelling movie in the end.

To me, the film is boring, lifeless, too dreary for its own good, and has really annoying quirks and habits that just irritate me.

Achieves the impossible in taking a genuine socio-political tragedy and turning it into an anvil drama which will fray the patience of the most sympathetic audiences.

Bambi is not a great film. The film has a few memorably winning sequences which have become part of Disney pantheon. But in between these sequences are fairly dullish stretches of Disney kitsch, with too-cuddly animals in extreme states of too-cute behavior; there’s also a song score which is among Disney’s least interesting.

After four Pixar features under their belts, it is painfully easy to see the clichés emerging.

I give Killers of the Flower Moon a mild recommendation. It’s too long and predictable. The saving grace is its performance across the board.

The story is set in real world Mexico, not a cleaned-up movie world simulacrum.

Portraying the same 1945 confrontation from the vantage point of the Japanese was an inspired idea. Unfortunately, the movie it inspired is something of a letdown.

After a strong takeoff, the film lands on dead grounds.

One of the funniest things I have ever seen was Dustin Hoffman weeping uncontrollably as he recounted how he never truly understood the inner pain and torment of what it felt like to be an ugly woman until he made “Tootsie.” I wouldn’t trade that thirty seconds for the entire film. Tootsie is funny enough and Hoffman truly does make an scary awe inspiring wreck of a woman, but people would have you believe this film was the Rosetta Stone of comedy, whereas it’s really just an ok film dominated by television actors and desperately lucky to have caught Bill Murray on a free afternoon.

Ultimately, the filmmakers manage to sustain the public’s attention at all times while painting an informative, entertaining, and emotional picture of a choreographer, his friends and colleagues, and his most important work; and that might be enough for now.

This much-ballyhooed gay cowboy melodrama is an inert disappointment.

A courageous film, especially from a first-time director, and deserves all the audience support it can attract. It’s a People Story, and it’s About Something. However, it’s also something of a heavy sit.

Ruizpalacios, who did a more consistent job in his 2014 debut drama Gueros, combines adventurous theft, archaeology lessons, family aloofness, and a vitiated friendship all in one. The lens of cinematographer Damián García attractively captures all of this, but part of the energy accumulated during the journey wasn’t always canalized in the right direction.

Had these themes of accepting the consequences of actions, living up to one’s word, the moral weakness of youth been better capitalized on, or had a little fun been had, The Green Knight would have done a better job at earning itself a place in the storybooks.

At the risk of being called an anti-Semite, I would like to propose a moratorium on Holocaust movies -- While it would be crass to discount the importance of the subject, at the same time one has to admit there is some degree of excess going on here.

This is a curious example of taking a hair-raising story and draining the drama from every corner, leaving it a bit flat and ultimately forgettable.

The truth is About Schmidt offers only the sporadic laugh, the less frequent original cultural insight and, at best, a craftsmanlike performance from its aging headliner. The truth is there are long stretches in the picture that are unequivocally dull.

Imagine if the team that made "The English Patient" tried to make the same kind of movie, with even more brave-lads-fighting-the-Jerries porn and this time with Extra Added English country manor porn, and without really good actors, and this movie is what you’d have.

The chief triumph here, it seems to me though, is one of style over substance. The disaffected kids who shuffle through its universe have nothing to say, nothing to tell us. I’m not sure the movie has a whole lot more.

As a movie, I thought Jon M. Chu did an incredible job bringing In The Heights to cinematic life. There’s nothing wrong with the actual production or cast. It’s all great, but my issue is with the source material, specifically the songs.

The movie is quiet and minimal in its dialogue, and it has flashes of humor and thoughtfulness. However, it's also unbearably slow and hard to empathize with Mikey when we don't really know what his problem is.

At the end of the day, though, this is Charlie Kaufman's movie and I'm not sure he proves quite the visionary puppetmaster many in the media are making him out to be.

A silly comic book movie with provocative psychological overtones. Or a provocative character study with silly comic book overtones. Take your pick. Either way, it's hardly the cinematic milestone it's widely hailed as being.

“Volume Two” is what they call a movie-lover’s movie, in that it’s replete with references to just about everything a cinema geek would appreciate.

The film's screenplay is thick with major lapses in logic, resulting in a story that ultimately makes little sense.

Part of the problem with Moonage Daydream is that it is trying too hard.