The film is simplicity itself.

Has its own sense of logic and integrity that demand a kind of begrudged respect.

The F Word would be commendable on the strength of its unusual wit and warmth alone, but it becomes a far more satisfying (even somewhat illuminating) experience because it doesn’t shy away from the often ugly psychology engendered by cross-gendered friendships.

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

Here is a pitch-black psycho-horror-comedy to restore one’s faith in the “What the eff did I just watch?” genre.

Murdoch’s film is fraught with ambition and aspiration, but a little thin on talent and technique.

To the Wonder is distinctly lacking in oomph and, without an emotional connection, without anything interesting happening on the screen, the beauty can only take you so far before the endeavor falls like a house of cards.

What’s truly unnerving about the whole thing is how good certain scenes are, and how great a few of the performances come off, especially Julia Roberts and Meryl Streep – they’re doing amazing work, only it’s the equivalent of building a lovely home on a foundation of quicksand.

A rich and challenging variation on the serial-killer genre.

The story moves beyond the limitations of its setting, transforming itself into an affecting parable about the lengths to which parents will go to protect their children from trauma, cruelty and knowledge of evil.

Park allows this macabre coming-of-age tale to be defined by mood and style above all else.

Particular credit must be given to Samuel L. Jackson’s voicing of Whiplash and Paul Giamatti’s work on the voice of Chet. The chemistry between the two is awesome, hilarious even.

There's nothing terribly wrong with the movie, but nothing terribly right about it either.

Boyd would be smart to add a little sound and fury next time around. War is hell, after all.

Regretfully, the beginning of this movie is as good as it ever gets.

Wrong is more absurd and more laugh-out-loud silly than “Rubber;” it’s also less focused and more pointless.

It’s just boring – and boring in a way that apparently has no endgame.

A magic-realistic fable whose lows soon prove as infuriating as its highs are intoxicating.

The fact that isolated bits are amusing shouldn't keep us from strongly noting that this movie really is pretty awful -- not at all worthy of guilty pleasure status.

Fading Gigolo wants to be some sort of sunny tapestry about New York’s social groups, but it’s impossible to see past its absurd premise.

The Walt Disney World-set Escape From Tomorrow is both a great gimmick-dependent story and a remarkable piece of filmmaking. It is a radical, transgressive departure that exploits new technology in heretofore unseen ways.

Don't be misled by claims that you've seen this one already. You haven't, and you should.

The film’s final shot ranks among its least graphic and yet most puzzling, a slap-in-the-face piece of punctuation that reminds the most accommodating viewers that, even on his good days, Mr. Zombie is really only making movies for an audience of one.

I'm not even sure the movie makes sense at times, yet Campion's offbeat rhythms and eye for startling images always made me happy to be looking at the screen.

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.

An acerbically comic fable.

Despite the frivolous feel, it's clear the director intends for Bossa Nova to be a love letter to his two passions: Brazil and his leading lady (who's also his real-life wife). Neither lets him down.

For every poignant moment there’s a gaudy dream sequence, wretched internal monologue, ham-fisted zoom or an exchange of dialogue sorely lacking nuance.