No classic, but two hours well-spent nonetheless.

It has a nose for what's cool, but is completely inept at execution.

As a primer on the arcana surrounding the profession of personal injury lawyer (more familiarly known as ambulance chaser), A Civil Action is deeply, and even passionately, informative. As a drama and character study, though, it mostly misses the mark.

Watching Seven is like cracking open a safe, only to find it crawling with eels

All fleeting charm where it could have been one of the most memorable films of the decade.

Drags on far too long.

If it weren't so pushy about selling itself, The Dish might have been a very special movie.

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.

It is -- in mood, execution, and shameless sentimentality -- a Bette Midler movie with an Irish accent.

Mostly he's (Fraser) trapped in a sequel that's too wrapped up in a desire to top itself.

Has its clunky and wince-worthy moments, it does explore some new territory, and there are moments when it's quite fresh and moving.

Compulsively watchable and its occasional lapses into that familiar Polanskian overkill are almost charming.

I still feel pushed around by Darabont's mysticism, and his overbearing sense of grandness; a little bit of the Mile goes a long way.

A reminder of why Bullock became a movie star in the first place.

Works best as a free-flowing essay.

Although The Reluctant Fundamentalist raises some complicated questions, in the end, it doesn’t challenge that much.

The evidence Herzog serves up is impossible to dismiss.

Although the film disappoints in the final stretch (both the villain and his motive turn out to be very lame), it confidently thrills for most of its nearly two-hour length.

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.

Despite the numerous patchy moments The Brass Teapot by and large squeaks by as an enjoyable entertainment.

(Tyler's) voice is still mall American, and Onegin's rejection of her is nowhere near as puzzling or as tragic as it's supposed to be.

A good, though unremarkable, film.

The problem is that the motion picture around these individual stunts is patently a committee-made artifact.

I Origins is about on-par with “Another Earth,” but it’s still disappointing that a film so obsessed with the eye has such a fuzzy, blurred vision of what it wants to do.

Good enough in spots to make you wish it could have sustained its campier inclinations.

Jim Carrey is magnificent as Kaufman.

It's a film in which nothing is at stake, that's safe and sentimental to the core.

The storm is the reason to see the movie.