You'll feel moved and uplifted after watching this well-written, funny movie.

Fascinating noir, which will long be remembered for its extraordinary lead performance by Catherine Deneuve.

There's something thin about the picture-both in its ideas and its visual texture.

Cage, not one known for subtlety of late, is truly great in this sad, funny and tender role.

A potent encapsulation of how fame and finance beget fear and grief.

Surely, there will be audiences that see South Park as one of the signs of the coming apocalypse, which may be exactly why another audience finds it so ruthlessly, irresistably funny.

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

Show Me Love has the pulse of teen life down-pat, shaming its many sleek and glossy American counterparts at every turn.

The film is starved for the kind of nuance Kore-eda wields effortlessly elsewhere. What’s left without it is something merely schematic.

I’ve given A Field in England two tries now and each time found it to be occasionally ferocious and funny, severely trippy for stretches and at times outright tedious. With that said, I still can’t wait to see what the man does next.

The film is very theatrical and admittedly "staged," but always purposefully.

While the final act might not surprise or stun, it does feature some classic le Carre movements, some trademark Corbijn ease, and a terrifying Hoffman bellowing at the sky – not so bad for just another spy film.

It's not a profound film, but it is heartfelt, and Burns has done his best to keep it clear and emotionally direct.

It gives the audience something serious to ponder. That's rare these days.

An absurdist Eastern European version of "The Godfather," starring the Marx Brothers (and sisters and nephews and...).

This might have been a very good movie if it had lost about one of its three hours.

Delivers its humor with clockwork reliability.

An exercise in outrageous style over substance.

Takes an easy target and turns it into something naggingly weird.

Authentic contemporary heroine.

Simple but charming.

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.

This is a story told in shards; Wong is so obsessed with visual details – faces refracted as if in a broken mirror, or fragile arcs of blood being traced out on the pavement by the feet of two feuding kung fu masters – that the story he’s trying to tell is partly obscured by them.

Retains enough of Soderbergh's usual indie sensibility to make some sly but contentious points.

The first live-action endeavor from director Brad Bird (The Incredibles, The Iron Giant), Mission: Impossible – Ghost Protocol is filled with the verve and clarity of his animated action sequences while lending just enough gravity and remote plausibility to the stunts and gadgetry to keep it from becoming a glorified cartoon in and of itself.

Definitely worth a chance: although everyone in this fog-shrouded setting makes grand sacrifices, all you'll lose are a few tears.

A good-natured farce. It's also really, really funny.