One of the things that makes this movie such a great rush is that while you’re watching it, it seems a good deal more subversive than it really is.

Duff is a charming heroine who carries the movie cheerfully, if not gracefully--the pratfalls come early and often.

Moncrieff’s overriding theme here isn’t empowerment but survival. The movie crams a hell of a lot of dysfunction into its 88 minutes.

While it may be excruciating to watch a speller miss a word by a letter, it's just as exciting to watch another kid jump the hurdle.

The tension's palpable and the deaths are gruesomely inventive (and jarringly abrupt), but the clincher is so far-fetched you may end up wishing you'd opted for the relative reality of a week in Cancun instead.

Smushes together “The Bonfire of the Vanities” (the novel, that is), “True Believer,” and “Eyes Wide Shut,” only it does so without being nearly as good as any of the aforementioned.

By the end of the film, one begins to recognize specific birds, rooting for their safe returns and saddened by some of their failures.

Flashy, forgettable fluff.

Despite its Latin flavor, there is nothing new or original about Chasing Papi's girl-power story line and ridiculously stereotypical characters. But the film's charm lies in its ability to see itself for what it is.

It's churlish, especially these days, to try to split the difference between an immortal comedy classic and a mere laugh riot.

Zombie's film plays more like an experimental pastiche than an outright homage to those classic road-trip-gone-wrong movies.

There's much visual inventiveness and a good sense of fun here. But I was expecting something more spectacular.

Terrifically charming and energetic film.

Duvall delivers a bravura, Oscar-quality performance....The Apostle is a profoundly humane movie that crackles with the joy and sorrow of an old blues record.

A model of economic storytelling....It raised the bar for movie action to a bionic level. [1 Dec 2003, p.13]

Steven Spielberg turns the pure adventure of Saturday afternoon serials into a solidly entertaining spectacle.

Sandy, Danny, and their sexier counterparts Rizzo and Kenickie are spectacular fun to watch, especially in their non-TV-edited glory. Though it's virtually impossible to forget, and stay quiet during, the film's many songs, it's also surprising to remember all of the racy dialogue and double entendres in the original. Or maybe it's just that we never got them when we were ten.

At its most simplified, Sucker punches its way to the top of the Italian-western mountains, but never reaches the peak of its immortalized trilogy brethren.