An exhilarating piece of popular entertainment.

Horror presented without restraint or apology, as a full-bore, blood-soaked load of nomad nastiness caught in constant forward motion.

The point of this film is the spell it weaves and, by and large, it is successful. It’s the music, it’s the cinematography, it’s the score, it’s Casey Affleck’s hollow speaking voice — they all add up to something that resembles a fever dream facsimile of an eventful movie.

Hilarious and often moving.

A Melancholy Delight. Its pacing will undoubtedly seem too deliberate to some, but I found first-time director Deborah Warner's The Last September a delight from beginning to end.

Unlikely to draw the audience it deserves, but those who do see it will have a hard time shaking its gentle, ghostly echoes.

An insistent, insinuating film -- both in terms of its plot and characters, and in its impact on the viewer -- Harry's effects are small-scale but so perfectly pitched that they never seem small.

Armitage, Cusack and his Evanston chums have their work cut out for them to turn a stone killer into a sympathetic romantic character. That they succeed in such a shrewdly funny way is downright amazing.

It's so good, so jam-packed with delights, that it leaves you gorged -- and bemoaning the fatty glop that passes for moviemaking these days.

This kind of film, in its various manifestations recurring through the decades, gives us confidence that cinema can ultimately get to the heart of things.

Never less than dazzling to look at, and the scorching humor keeps it alive from scene to scene.

Charming and imaginative.

A deliciously romantic story, in all senses of the word.

Puts the Bond film series (this one makes number 19)-- back on track by stressing the fundamentals and applying a bit of authentic drama for a change.

Borgman‘s crafty, trickster-ish screenplay, always two steps ahead of you, keeps you rooting for clues, enough to put your ethics on temporary hold.

Morris seduces us into stepping into Leuchter's world of delusion and ego.

A very small film, as they say in the movie business, but its stylish suspensefulness is nicely leavened by Connell's obvious, and welcome, love for his hapless characters.

Bateman could have been much more interesting if he'd been played by someone who wouldn't need to work quite so hard (Charlie Sheen or Rob Lowe might have been fascinating here).

Human Resources resonates because it restores the humanity to that dehumanizing title phrase.

Carrey is an actor possessed. He's brilliant.

May be Hitchcock on holiday, but that's a perfectly enjoyable vacation.

A.C.O.D. proves to be both a solid debut for Zicherman and a worthy vehicle for Scott and company, one that provides plenty of awkward laughs and generally gives the American farce a good name again.

[Ritchie] cranks up the laughs and tension with equal aplomb, throwing wrenches in the plot so that the audience has no idea what to expect next -- and that's part of the film's thrill.

This mordant, macabre look at the American obsession with fast food, television and murder is icily funny.

A Hijacking isn’t boring, but it is not an adventure film – it is a frustratingly realistic take on the unfortunate modern threat of piracy, and a bit of an emotional workout.

Kate Hudson's accent is spot-on, and she brings her megawattage to good use on the Gershwin standard, "The Man I Love."

This long, sometimes hard-to-watch movie is a challenge, but it has authority and raw power.

It's a pleasant surprise to note how good Scream 3 really is.