A purely entertaining, scary flick will infuriate the culturati who like their movies like they like their Atlantic articles: long and academic. However, despite some issues, this Janelle Monáe film is a breathless watch.

What keeps the movie nervy and kinetic is that, for a good hour, it never seems that Jack and family are anything but average people who somehow manage to survive one hellacious trial after another, even when it comes to having to kill another human being.

It's a credit to the actors, particularly the superb Campbell, that completely preposterous material can be made strangely touching.

The only thing missing is the mud that the big boys love to sling. But the Stuyvesant candidates are kids - give them a few years.

Kaling’s script addresses issues such as sexism in the #MeToo era, ageism and racial prejudice in her disarmingly light and sneaky way.

You'll delight in their friendship - and weep when they're separated by the inevitable.

Unusual and utterly disarming documentary.

Kim's wittiest effort to date, with a wordless performance by Jae Hee that recalls Keaton and Chaplin.

Offers some stunningly beautiful sequences and an engaging, if at times quite dark, story line.

Except when Norton is playing retarded, he and De Niro basically compete to see who can under-act the other. It's positively mesmerizing.

Vastly more explicit (be warned) and intelligent (than "Angel Eyes"). It also leads to much darker - and more interesting - places.

A solidly entertaining if predictable time-travel film that boasts something most DC movies sorely lack: a strong lead performance.

It's like animation come to three-dimensional life, and f/x addicts as well as sci-fi fans will not want to miss a split-second.

Genuinely charming, treacle-free family films are tough to find these days, so I'm happy to heartily recommend We Bought a Zoo as heartwarming holiday fare that even jaded adults can share with the kids.

Frankel has a fine eye for telling detail, and the result, while sentimental, is as irresistible as the dessert cart.

Days of Being Wild is less accomplished than later Wong efforts like Chungking Express and In the Mood for Love, but it's smart filmmaking nevertheless. [19 Nov 2004, p.46]

In Devos’ hard-charging performance, she’s also fascinating, and that’s all a film requires.

Hrebejik directs with a sure hand, deftly balancing comedy and drama in a most involving and satisfying manner.

Less tiring than a three-hour tramp through the halls, and considerably less expensive than a plane ticket, National Gallery gives the feeling of having seen everything there is to see.

Low-key yet has a lot to say about class struggle.

An impeccably acted and directed - but quite icy - portrait of deception and betrayal.

Isn't Allen's finest work by a long shot, but an undeniable part of its fascination is trying to figure out what -- if anything, even unconsciously -- he's trying to say about how he treated Farrow.

If there's an awkward moment, it's the scene in which the monks take part in a sort of Last Supper, drinking wine while Tchaikovsky's "Swan Lake" plays in the background. You keep waiting for Natalie Portman to twirl into the room.

You would be hard-pressed to use the word "accessible" to describe Film Socialisme, and that's exactly the way the master wants it.

A meditation on literature, love and remembrance that is able to find humor and hope in the dark days of the Cultural Revolution.

Hermila Guedes is hot as the damsel in distress. She carries the movie on her slender shoulders, providing erotic charm and believable acting.

May be the most purely entertaining foreign-language crossover since "Crouching Tiger, Hidden Dragon."

If you’re willing to overlook some monstrously big plot holes and logic gaps, this half-animated Chinese blockbuster is an agreeably bonkers, occasionally disturbing cinematic ride.