Though The Concert swerves and skids, it never goes off the road, and when the moment counts, when things really make a difference, the film comes through beautifully.

It’s a grand bogus mess passing itself off as a philosophical statement. It has its moments, but they’re few. Often, it’s a beautiful-looking film — but it’s beauty without substance.

A spectacular failure, despite further evidence of the director's keen eye and bold cinematic ideas.

Joins the growing mass of excellent, disturbing and achingly sad documentaries about the Iraq conflict.

Even though the movie’s engine sputters at the end, it’s beautifully shot, the actors are fun to watch, and the story is decent in fits and starts.

Don't believe the weak coming-attractions trailer. The inspired pairing of Sandra Bullock and Melissa McCarthy makes for a successful action comedy.

The directorial talent is there. Now if he can just be persuaded to let someone else write the script next time, we might have something serious to talk about.

Wong Foo is pure fantasy and sets up the cross-dressers as avenging spirits of fun, frolic and frisky style. Like samurai cleans ing a village of its criminal scum, they transform Snydersville from a drab, dusty whistle stop to a wonderland of wigs, sidewalk cafes and spontaneous dance parties.

A gentle, pleasant film about people you genuinely like.

The whole thing is monumentally gruesome and just as monumentally cynical, a riot of grisly cliches designed to titillate and amuse.

The people who made this film -- particularly the ones responsible for the story and the dialogue -- should look no further when trying to understand why In Her Shoes lands with such little impact. The characters seem authentic -- until the chick-flick template distorts them.

A charming, finely nuanced romance.

Self-satisfied -- an undisciplined brat of a film.

The real wonder becomes how British filmmaker Sandra Goldbacher was able to write and direct such an accomplished, touching and original movie her first time out.

The movie is saying something worth hearing about the place the future holds, the concept and promise of it, in human existence. It’s an attempt to wrest that vision from the narrow fantasies of doom-peddling action filmmakers. That’s an attempt worth making.

The dialogue stretches are just pauses between the action scenes, where the director gets to show her stuff. [12 July 1991, p.F1]

Clearly, this is not a film for everyone, but even though the routine gets highly repetitious, some of the heavy metal numbers are stirring.

The character isn't just shtick, though. As Billy, Talen has staged many protests in Times Square and anti-shopping "interventions" at retailers, where the managers, to say nothing of the New York police, often have failed to see the humor - he's been arrested dozens of times.

Some sections are better than others, but all of them benefit from the various ways the character and the actress illuminate each other.

There’s more to life than just stories and really, Djinn and Alithea just need to get a life.

Powerful and depressing.

But it’s also kind of a mess. Even as the animated film piles on mismatched funny animals, uninspired songs with on-the-nose lyrics and a plot-driving motivation that appears universal but is in fact hard to buy, the project feels both generic and misguidedly overstuffed.

It's a lovely film that grows along with the characters. At first, it seems like a pleasing but inconsequential comedy. But it deepens as their connection deepens and opens up into a place of poignancy and insight.

Segerstedt's anti-Nazi stand is the only reason to be interested in him, and yet half the movie is about his domestic life.

Suffice to say that McNeil plays it way too safe. Trying to have it both ways, he satisfies no one.

Some scenes are mild fun, but the mishaps that befall our hero aren't especially inventive, and although the South African setting provides a bit of interest, it's never really used incisively.

Elba's performance is commanding and physically meticulous. As he ages through the film, he takes on the stiff gracefulness of the elderly Mandela, so familiar to us from news footage.

Saw X is “Saw 1.5” chronologically, taking place between the first and second films in this granddaddy of torture porn franchises. Quality-wise, though, it is closer to a 10 than a zero, which cannot be said about most of the other nine movies in this distressingly popular series.