One of the most impressive actor-to-filmmaker transitions in recent years.

A bloody mess.

Thought-provoking, insightful and entertaining.

The story is fluff, but it's mostly appealing.

In Sorkin's vision, this is what ought to happen when a political progressive occupies the White House -- provided he has principles, guts and more on his mind than voter-approval polls and re- election prospects.

One of his better efforts, not up there in the Vertigo-North by Northwest-Psycho stratosphere, but a cut above his competent thrillers such as Foreign Correspondent, Saboteur and Lifeboat. [19 Dec 2004]

At its heart, the film is about the intense connection between Valentino and his business partner of 50 years, Giancarlo Giammetti, the brains behind the branding.

Underscores that choices in love are rarely clean and easy, and more often than not, are poignantly funny.

To cover the Abramoff scandal is to follow tangent after tangent, until it seems as if prison was in the lobbyist's plans from the beginning.

Baughman and O'Hara's documentary spews out so much information in just 111 minutes that the movie would have benefited from a longer run time and tighter focus.

Mate swapping is so '70s. But Alan Rudolph, who wrote and directed Afterglow, avoids making it seem dated by presenting the menage a quatre as accidental.

Applause is a very minor film with a massive performance at its center.

A desperate, pathetic mess.

The film's subject, a whistle-blowing research scientist who played a key role in the fight to regulate tobacco, deserves to be celebrated.

Braveheart comes up short by beating the drums of human treachery and violence so loudly they become assaults.

A peculiar little film -- grim and disturbing yet perversely riveting.

Men will watch Crazy, Stupid, Love thinking they're finding out things about women, but if anything, this movie works the other way. Women will get a glimpse into the male mind.

It has scale, spectacle and a cast of good actors who seem to believe in what they’re doing. But the movie springs to life only in spurts.

Both halves of the film are exquisitely acted and written, both are emotionally true, and yet they don't quite fit together.

The narrative doesn’t generate much interest; the nature of the ultimate ending is discernible from a distance, and the movie’s message about nature and the natural order seems forced. Still, there’s a lot here that’s impressive. Lamb is too vivid and original to forget.

Refreshing and worth seeing.

The best scenes are filmed inside the cruiser, dashboard shots that face inward instead of out, catching Gyllenhaal and Peña in moments so playful and true they make all other buddy cops look bogus by comparison.

If you thought you didn’t like William Shatner, see this movie to have your mind changed. And if you already like him, get ready to love the guy.

Yet Apocalypto has to be respected for the sheer audacity of it, for the commitment and ambition behind it, and for its presentation of a complete other world. It is the furthest thing from a cynical or casual piece of work. It's crazy, and it moves.

This disappointing comedy, which seems to move at a snail's pace, is almost saved by the gorgeous scenery and settings, crisply photographed. Locations include the Grand Hotel du Cap Ferrat, Beaulieu-sur-Mer, the harbor at Juan-les-Pins, and other lovely spots on the Cote d'Azur. [14 Dec 1988, p.E1]

It's funny, broad and never stops moving. It's made to please, and succeeds.

Heartfelt and passionate and brave in what it attempts to explore.

A sexy, mildly entertaining import.