Not exactly screwball, and not exactly sentimental, but an uneasy and uncertain mix of the two.

Truly magnificent.

If you've got the opportunity to have someone as talented and game for anything as Swinton, you really owe it to her to give her a real movie to be in.

As corny as it is, there’s a lot of heart to 50 First Dates. But this happens more in spite of Adam Sandler than because of him. The heart comes from Drew Barrymore, really, and some of the supporting cast.

This is a great little thriller with some genuinely creepy moments.

I was hoping to be blown away, but was left feeling much like the iPerson in the "Machine Love" segment -- kind of cold.

It ain’t high art, but it is a fun flick.

It’s not a great film, and it does rely a bit too much on the “evil bank” motif, but it might be worth a Saturday afternoon with the kids.

The film has many great moments, but dare I say, it’s not melodramatic enough. To understand the magnitude of the miracle on ice, you had to live it, breathe it, and feel it.

Gorgeously shot, cleverly directed, smartly scripted and convincingly performed, The Dreamers is itself something of a movie puzzle.

A spot-on homage/parody of bad 1950's sci-fi movies.

With exceptional performances and extraordinary imagery, Zvyagintsev has fashioned a remarkable first feature.

Filmmakers Rossi and Novak have done a wonderful job of making all of this entertaining, not just for those interested in the business, but to us ordinary joes as well.

By the way, good luck making sense out of the final fifteen minutes. I'd say people were asleep at the wheel on this one but the film is so pointlessly all over the place that I'm not sure there even was one.

Takes a workable premise wrapped inside a mostly-talented cast and piles it all on poor Bosworth’s shoulders; it’s just not fair, you see how narrow they are.

Suffice it to say that MacDonald has made the finest mountain climbing movie you are likely ever to come across. The cinematography is awesome, the score by Alex Heffes terrific, the reenactments remarkably credible.

A terrific story, years in the making, that clearly stays true to the uncompromising vision of its creators. The results are on the screen.

The result was one of the worst films I've seen in a long, long time as this entire movie proved to me is that it's never too early to start the race for next year's Golden Razzies...

The plot, characters, story and dialogue were all secondary -– or lower. With this in mind, Torque really wasn't that bad. In fact, with this in mind, Torque was actually pretty good.

The story takes some kooky turns and, at times, delves into the supernatural.

The film is a stunning piece of visual poetry that will, hopefully, be remembered as one of the most important stories to be told in Australia’s film history.

Music fans of every stripe should kill to see this film, one of the very best music documentaries in recent years.

The pacing is perfect and there’s no shortage of interesting revelations, and let’s face it, there aren’t many more subjects under the sun that are more interesting than serial killers. Consider "Aileen" to be an essential viewing companion to its dramatic narrative counterpart.

This extraordinary work of cinematic art is among the most sublime, compelling and beautifully crafted films to grace the big screen.

As he did with “The English Patient,” director Minghella performs a miraculous juggling act, balancing his epic, sweeping story with the subtleties of character and detail that make Cold Mountain breathe.

Longtime fans of John Woo, who have come to accept operatic, lead-slinging death dances as an integral part of the director’s powerful aesthetic, will probably be unsatisfied with this neutered variation on his earlier, superior works.

Jenkins' film ranks as one of the past year's very best. Like "In Cold Blood," "The Onion Field" and "Dead Man Walking" before it, her picture provides a mesmerizing portrait of the human side of evil.

Could be subtitled “The Parade of Overrated Actresses.”