There’s just too much good stuff to dismiss White Bird in a Blizzard out of hand, even if it does have a somewhat dull and desultory plot.

Doesn't go the distance in either story or style, unwilling to liberate itself from real or presumed expectations about what it takes to sell a movie featuring teenagers.

A snoozy-but-diverting, lightly constipated B-movie.

Look to the cast as the best reason to see this film.

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

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.

An exercise in outrageous style over substance.

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

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

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

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.

Looks like a very cheerful and imaginative accident.

When the film is sexy, it's truly sexy, assuming that you believe sexiness has something to do with the exploration of a connection between people.

Somewhere around the beginning of Hour Two, the narrative loses momentum, and Pino Donaggio's molasses-thick score begins to drag everything down with it. The ending also lacks the surprise twist that seems to be promised .

About two lives in which transformation is a constant, destabilizing threat to freedom and sanity. That's a very provocative premise, though halfway through the movie Doyle and Walsh abandon its potential to go for easy laughs.

A difficult, ambiguous film.

Actually funnier than the first movie, but getting to those parts requires a little bit of patient mental fast-forwarding.

Kusama understands her subject intimately, and it shows.

If you want to see an object lesson in how brilliant acting can transcend high concept, this movie's for you.

Enough well-conceived jokes that the whole thing works very nicely.

The premise is provoking and well-conceived, confidently moving things forward until the increasingly knotty rules of the film’s universe eventually come to overbear the experience a bit in the homestretch.

Alas, when Rounders lays out its cards, the results aren't as much as you'd been led to believe. But the movie's style and authenticity run a good bluff.

Go For Sisters is something of a frustration. It’s the least interesting crime caper ever, and there are fascinating characters forced to go through the motions as if any of us could possibly care.

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

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

Unfailingly energetic, 10 Things is like a puppy that can't stop wagging its tail, begging for attention...Even more than "Cruel Intentions," this movie plays like an awkward high-school production of a classic.

It is an ostensibly serious story about being young and struggling to wrest control over one's life from the hands of fools, yet it doesn't behave like a serious drama that wants to lead us anywhere.

Altman is just as nastily misogynistic as ever.