The acting is uniformly superb.

A highly satirical work, albeit without the "in your face" style of "South Park."

It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's "Reckless."

It's dull, childish, and uninspired.

Boring and repetitive.

The best part of the film, unsurprisingly, is William H. Macy's low-key portrayal of Bernie.

A stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption.

It's moderately engaging for the first half-hour, somewhat trying during the second half hour, and virtually unbearable over the final twenty minutes. It's a marginally recommendable film for kids, but not necessarily for parents.

A plot that insults, betrays, and cheats every member of the audience. Stupidity to a degree can sometimes be forgiven. Stupidity to this degree can not and should not.

Although the specter of death hovers over the entire film, it is neither a grim nor a depressing experience. Arcand has injected a great deal of wit into the movie, and it meshes perfectly with the anticipated pathos.

Does not surpass Kevin Costner's "Open Range" for the title of Best Western of 2003, but it's a worthy effort and makes for an enjoyable (if slightly overlong) two-plus hours.

For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.

So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.

More likely to end up on the snow pile of forgettable Christmas-themed movies than in the vault of memorable ones.

Appealing and genial with plenty of solid laughs, and worthy of a recommendation for those who appreciate this kind of thing. Just don't expect material that's edgy, dark, or challenging. Consider Love Actually the antidote to "Mystic River."

Represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest.

The film's two big flaws are readily apparent: a clunky screenplay and the miscasting of the lead character.

May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.

The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.

If there's one thing this motion picture proves, it's that "The Naked Gun 33 1/3" wasn't the final insult from a founding ZAZ (Zucker/Abrams/Zucker) member; this is.

The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.

Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.

If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.

The film delivers with enough consistency to warrant a qualified recommendation for those seeking a few extra scares at this time of the year.

The film has its share of high points, but the flaws are frustratingly obvious and impossible to overlook.

Despite its themes of terminal illness, dysfunctional families, and the need to heal old wounds, the film spends more time provoking laughter than tears.

Sylvia underwhelms.

For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.