Ultimately, while Wilde lacks the depth and substance of the best biographical features, it's nevertheless a strong enough contender to deserve a trip to the local theater.

It engaged me throughout and I found the ending to be surprisingly hopeful.

This represesents the smartest high-budget, high-profile science fiction film to have come along in quite some time.

An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.

The film's first 15 minutes are by far the most fun (and could be the best quarter-hour of any movie released this year), with Samuel L. Jackson and The Rock letting it all hang out.

Although parts of Emergency can feel like a bizarre cross-pollination of After Hours (Martin Scorsese’s 1985 chronicle of a nightmare road trip) and Weekend at Bernie’s, there’s more going on here. Despite the comedy, the screenplay poses some serious questions that can’t simply be brushed aside.

It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture.

Has its share of bitingly funny moments, and some of the comedy is quite inventive.

Nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots.

The ensemble cast is diverse and accomplished, but, because of the time constraints, no one has enough time to register much of a positive or negative impression.

Has the potential to be a truly memorable film, and, for more than three-quarters of its running time, it is poised to live up to that potential. But then there are the final twenty minutes.

Blomkamp's universe is a fascinating place to visit and the movie is stuffed with ideas - there's far too much here to satisfactorily explore in 109 minutes, especially when one considers that room must be made for action scenes. I departed the theater satisfied with what I'd seen but wanting more.

A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.

Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.

This is adult drama with an impeccable sense of period and a strong focus on character. With today's cinema sadly lacking in movies like this, it makes Inside Llewyn Davis all the more welcome, especially for those who care about the kind of music it honors.

We don’t see many movies like Gloria Bell these days. Simple, adult character studies with major stars have become a rarity in today’s movie climate. Gloria Bell is sedate in its approach – it tells a story but the narrative is devoid of sensationalistic happenings and manipulative melodrama.

Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.

For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.

It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

The director is a poet of images.

One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.

Has enough charm and whimsy to capture the attention and imagination of children and parents alike, and arguably represents one of the best live-action family films to enter theaters this year.

An uncommonly intelligent espionage thriller that explores the moral and ethical dilemmas faced by agents who go deep undercover in the service of their country.

Despite the negatives, I'm still recommending Fallen on the strength of its complex plot and especially its ending, which I loved. The final scenes are startling, audacious, and unexpected. It's not often that a plot development takes me by surprise the way this one did.

The film’s characters are as recognizably human as they are oddballs and the narrative arc could be loosely described as a coming-of-age story for a thirtysomething woman who exists in a state of extreme arrested development.

It's more heavy lifting than some will be willing to engage in but there's something welcome about a motion picture that doesn't hand out a dumbed-down resolution in a neatly wrapped package.

At first glance, Inherent Vice might seem to be a detective story. Look a little closer, however, and it becomes clear that this is Paul Thomas Anderson's idea of a comedy. There's slapstick, lowbrow material, and enough strange characters and "completely different" moments to make Monty Python smile.