The film is long, empty and bogus.

A clever, heart-pounding thriller, and a welcome return to form for the director.

The goal of this review - why not just say it? - is to disclose as little about the story as possible while instilling a ravenous and even rabid desire to see Love Crime immediately.

For pure, uncomplicated enjoyment, it's the movie to see right now.

Infectiously energetic.

So while Fuqua’s The Guilty is not much different from the original, his direction is crisp, Gyllenhaal’s performance grows on you and Riley Keough (Zola), as the voice of the woman who is abducted, is terrific.

The picture... is simple, sweet and elegantly written, and it benefits from the presence of Marlon Brando.

Obviously, director-writer Billy Senese didn’t have a ton of money to work with, but The Dead Center wisely eschews gore and special effects in favor of setting a dark, malevolent mood.

The magnificence of Weisz’s performance — yes, it’s another magnificent performance from Rachel Weisz — is that she is never hiding anything, beyond what a 19th century woman might conceal out of polite reserve. In her every moment on screen, she is an open book. We’re just not seeing all her pages.

A smart, juicy entertainment, but it's the kind of straight-up legal drama that hinges entirely on crafty storytelling and across-the-board solid performances.

Taken as a whole, the movie is far-fetched and even faintly ridiculous; and yet, in the moment to moment, it's compelling and truthful.

An exceptional example of Shakespeare on film.

The movie explores the real essence of determination, and it’s not what people imagine as they recite affirmations to themselves. Nyad shows us determination almost at a level of pathology, as a single-mindedness that could be considered sick, except that Nyad wasn’t delusional about her capacities.

Screenwriter William Monahan has fashioned an intelligent and highly topical epic. Director Ridley Scott has brought it home with banners flying.

In some respects, this feels like two movies, and the filmmakers couldn’t decide which story should be the focus.

Funny, original, occasionally poignant and almost all of it too dirty to repeat in a newspaper.

Cronicas has a cracking good plot, a central moral issue and John Leguizamo speaking Spanish. What more does a film need?

Wildly imaginative, humane, playful and deflating of all pretense.

Weisz’s conviction, passion and galvanizing outrage drive Denial. For a Jewish academic, this was no intellectual exercise, and Weisz lets us see it. Between the frames, Weisz likewise assures us that Denial is no routine movie for a Jewish actress.

Lévy gets expectedly strong work from the veteran Devos and outstanding performances from Sitruk and Dehbi.

A sweet, unabashedly sentimental tale.

It succeeds, occasionally.

It shambles and ambles, seemingly without focus or pattern, from one thing to the next. Yet at the same time, it's predictable, not from moment to moment, but in its outlines.

What Ritchie is able to convey is the terrifying nature of this kind of small-scale combat, with the enemy coming out from nowhere and from every direction. Even if you’ve never experienced anything like this, there’s something about what Ritchie does here that feels authentic.

As of today, this is the most delightful movie out there.

The acting is splendid. Fellowes’ dialogue may not be subtle, but the actors are so familiar and at home in these roles that they make up for whatever is lacking.

When the film is funny, it's terrific. When it shows what it really wants the audience to take seriously, it threatens to come apart. But mainly, it's a comedy, and mainly it's a lot of fun. [21 Aug 1992, p.C1]

The director is clearly an admirer of Francis (both the saint and the pope), and was able to conduct extensive and exclusive interviews with the pontiff.