One Day in September does "being there" very well -- I just wish director Macdonald had spent a little more time explaining why we should want to be there in the first place.

Remind(s) us of the power of good old-fashioned character-driven movies.

Lacks dramatic tension and fails to bring this great music alive. It does not sing.

It's blatantly manipulative pairing of an adorable young boy and a selfish, honesty-challenged older woman [is] so calculating that I could never get emotionally involved.

The story, ultimately, is about the classic conflict between a desire to cherish and protect one's unique gifts from a brutal world and a more practical instinct to compromise beauty.

While it has its scary moments, and while its central conceit is refreshingly imaginative, there's ultimately not much there there.

Like the giallo films it pays tribute to, Berberian Sound Studio is more of a sensory experience than a dramatic one.

While there are some okay side stories (stuff with the daughters and daughters’ friends) it kinda feels like attending a dinner party and checking in on the first world problems of a friend you kinda like, but don’t like enough to ask any follow up questions.

What's unfortunate is that Toothless is starring in a toothless story.

A glimpse into how three different definitions of love can find themselves quietly at odds, the interactions between our three leads are always convincing if not always compelling.

A cool and rather detached movie...Heat generates lots of energy but gives off little light.

A difficult, ambiguous film.

It's sumptuous, archaic, and longer than a firehouse ladder.

Bulworth shoots along with great vigor, and its non-politically correct jabs are occasionally exhilarating.

The human interest story that occupies fully two-thirds of this three hour plus epic is so flat and unconvincing that, for once, you find yourself longing for the disaster footage to start.

Given the enormous praise, the film falls short.

Far from perfect, and at 122 minutes it's way too long, but after surviving an overly schematic and even hectoring first half, finally delivers the emotional goods.

Drags on far too long.

For those seeking even a little adventurousness in their filmgoing experiences, the movie will wear thin very quickly.

Like "American Beauty" without the fangs - or the magic.

When the writing is good, Go is good, and when the writing is flat, things fall apart.

If it weren't so pushy about selling itself, The Dish might have been a very special movie.

Perhaps you have to have lived through the 1960s to relate.

There is a point in the movie when this mayhem crosses the line from wildly imaginative to downright insufferable.

An exercise in outrageous style over substance.

I really wish a younger man than Clint Eastwood had directed it.

Prince Avalanche occupies a strange space between [Green's] broadly comedic fare and devoutly character-driven dramas, and while we’re happy to see him closer to the latter mode once more, let’s hope that he’ll be back in a bigger way the next time out.

It's not that this is lousy entertainment, it's just that it's a Serious Topic given unnecessary Celebrity Sheen.