Not many side-splitting jokes, but a goofy glee is smeared across it all.

A quiet film, certainly, but it's filled with small touches that manage to get deeply under your skin by the time the final credits roll.

This meeting of two giants of European cinema only briefly comes to life.

The prolific 76-year-old British creator of character-rich, social dramas steeped in natural realism (usually) has whiffed it and whiffed it hard with this one. It’s not that it’s just “lesser Loach.” It is, in my opinion at least, humiliating.

There's not a single moment when you forget it's Weaver; she always seems to be inhabiting this poor character's soul for her own purposes.

Uncharacteristically loose and deceptively frivolous, The Bling Ring is as much of an attack on The Hills Generation as any of Coppola’s previous films were an exercise in self-pity, which is to say not at all.

A funny, sly directorial debut

It isn’t just the bright colors and the costumes but every visual aspect of Byzantium that sings. Neil Jordan knows where to put the camera. It’s just a shame he wasn’t able to inject a little life inside that frame.

Craven creates his savviest and most frightening movie since the original "A Nightmare on Elm Street" by spoofing the horror cliches and simultaneously reinventing them to scare you all over again.

If anything saves this movie, it's the acting.

Consistently runs the danger of substituting cool but ultra-hyper, modern special effects for boring old human sentiment.

It’s merely somewhat better than last year’s meandering dud — a slight improvement on a movie that should have been pretty easy to improve upon.

The movie gives us episodes from her life, and although some of them are charming and all of them well-played, I occasionally found myself wondering why I should want to be interested in this person.

The best word to describe it is strange, though it could have been halfway decent (yes, all the way up to halfway decent) if the third act hadn’t succumbed to the crescendo of craziness that had been building for the first hour.

The film is brisk, funny, smart, and artful, a strong pairing of high concept and relatable storylines.

An energetic mix of Scream-like dark comedy, senseless violence, satisfying surprises, and good old-fashioned mayhem

Full of truth that's ultimately diluted by a lack of focus.

The Visitor might be a hot mess, the byproduct of tailspinning egos and the best drugs movie money could buy in the late 70s, but it certainly isn’t an accident.

It's a guy's film that doesn't just revel in testosterone, though -- it has a more purposeful agenda.

It's swell when a film really does capture a book in some exactitude.

It plays lots of cool mind games with the audience -- if in an occasionally incoherent way -- and ends up providing a surprising amount of fun.

It transcends the usual biopic limitations to tell a specific story about some well-known people with larger, universal implications.

By turns amusing, touching and horrifying, A Room For Romeo Brass is a film that defies expectation at every turn.