Formulaic and creaky as a Harrison Ford action sequence, but sufficiently gussied up with good actors and a decent director so that you don’t entirely mind.

Every single performance is the result of a cast that has gone to the far reaches of acting ability and even exceeded them.

If there is one film which makes the most out of life, this is it.

The kind of film in which you pretty much know that everything is going to turn out all right in the end. That doesn't mean, however, that one won't enjoy watching this warm and fuzzy exercise in escapism in the process.

The director’s new masterpiece is a summation of nearly everything he has learned as a filmmaker, and about black culture, but he doesn’t feel the need to beat the audience over the head for each lesson he’s trying to impart.

While I personally love this movie, I’m not sure how well received a film about a frustrated filmmaker seeking creative solutions in his personal life and work life is going to be to the average moviegoer.

It spends little time on exposition, instead quickly getting into the thrust of the movie. For a film like this, it’s advantageous, grabbing the audience almost immediately after the opening credits.

The picture ranks with the brothers' best mid level output-not as sublime as "Fargo" or "Barton Fink" but infinitely more satisfying than "The Big Lebowski" or "Intolerable Cruelty".

Wolfgang Petersen's popcorn epic doesn't fail exactly. It just takes on too much. Modern man is at something of a disadvantage-even aided by his trusty muse, the computer-when presuming to bring the stuff of gods, myths and timeless sacred texts to the big screen.

Director Daniel Barnz produces an enjoyable film that reminds us that imagination is a precious commodity which adults need to nurture by allowing kids to jump.

Fast X is an entertainer. You need to leave the brains out and have fun.

A Sloth Story delivers a message with warmth, charm, and just enough energy for its younger audiences. The film’s heart is in the right place, balancing a gentle cultural exploration with the universal challenge of growing up and finding one’s own way.

I found myself in a tug-of-war between enjoying Bottle Shock as entertaining fluff, and thinking that there might be a more serious, gritty, complicated story lurking behind the grab-ass soap opera.

I got my first date because of this movie so you won't see me giving it any less than three stars.

Beyond The Night is a solid film with a solid story, good acting, and beautifully shot.

Overall, the film is lost and never found. In her first shot as director, Hunt seems direction-less.

Writer/director Schwab has crafted a piece that is beautiful, austere, and terrifying.

There are glimpses of a real actor struggling to get out of Pacino, although they are rare. It’s as if Pacino is dying to act, but he’s either too old or director Roger Donaldson just isn’t allowing him to do it.

It’s an exciting movie filled with plenty of action, adventure, beautiful cinematography and best of all, terrific performances.

My biggest frustration with Summerland is three major plotlines mixed like a tossed salad. Each plot is interesting to watch as well as engaging, but transitions from one to the next can clash with the good feelings generated by the previous.

The 3D visuals are an enormous part of MVA's experience and they also help to cover up the lackluster “comedy.”

W. is the kind of film that demands discussion and only then can we start to decipher what Stone's intentions are towards our President.

Jaglom has the good sense to cast the legendary Lee Grant in an extraordinary role.

The film vacillates so wildly, it spins out of control. As for the love story sub-plot – the less said about the poor, vacuous hole of a character that is Marie, the better.

Fluff. The cinematic equivalent of too much cotton candy Tetsuya Nanashima's Kamikaze Girls is a hyperkinetic fun house ride that is about forty five minutes too long.

The movie's front-loaded with puerile, junior high humor (and, admittedly, several laugh out loud moments), which is fine, but all this still followed by an increasingly awkward and clichéd third act.

Q: When is a vampire not a vampire? A: When it goes out in daylight, sees itself in a mirror, doesn’t drink human blood, and still manages to suck.

Immerse yourself in two fantastic performers, a polished narrative (by Menno Meyjes) and a “could have happened” scenario. It plays all too real if you ask me.