This is a film that’s likely to stick with you because of its exceptional intensity. You may find yourself wondering, long after the credits roll, what on Earth is in store for Boris’ unborn child?

Gluck also directed "Fired Up!," another teen charade with lots of quick-witted verbal raunch. Easy A does a few things better.

A low-budget wonder: rough and gritty around the edges, filmed for what looks like a budget of $1.98, but bristling with energy, passion and intimacy.

The energy of the play's best scenes is dissipated in the film version, but they still work. [02 Oct 1992, p.C1]

A satisfying combination of great songs and strong dramatic performances.

Adapted by Caitlin Moran, from her own semi-autobiographical novel, it’s both a dead-on take on what it’s like to be a young critic as well as a smart movie about class and 1990s culture.

A frothy comedy with the most adorable buddies since "Butch Cassidy and the Sundance Kid."

The film has aged gracefully.

A generational spectacle that's fun to witness.

A fairly well-made film, reasonably directed by Eran, and it is a plea for women's rights as the Middle East gradually transitions from a tradition-bound society to a modern one.

Even without containing a modern frame of film, “Apollo 13: Survival” seems current, even without the coincidence of Americans stranded in space.

A harmless and amusing summer comedy.

In terms of adrenaline, XXX is one of the most satisfying entries this summer.

The most refreshing thing about Summer of Sam is that it doesn't try to impose a moral or define the limits of its story.

By the finish, the movie is getting by on little but adrenaline and audience goodwill. Still, that goodwill runs fairly deep, because, taken all in all, 28 Days Later is a superior motion picture.

Shot in a glossy, appealing black-and-white and filmed in a single location, The Party generates a pressure-cooker atmosphere.

The overall aura is kind of ... welcoming. It’s impossible to take seriously, but easy to take.

He never indulges in schmaltz or melodrama, as most American filmmakers do when approaching this theme -- think of "It's a Wonderful Life" or the awful "When Dreams May Come" -- but delivers a delicate meditation rich with emotion.

Laughs are laughs, whether you know some of the punch lines ahead of time or not. And The Secret Life of Pets has plenty of laughs.

It's brisk and assured and never begs the audience's indulgence. No time is wasted. The movie is, at every moment, either funny or pushing the story forward, or both.

Mangold's sympathy is genuine and his refusal to mock or condescend to his characters -- indeed, that may be the point of the film -- is a pleasure.

Floats on the charm and the labors of its lead actress, Gretchen Mol, who single-handedly makes the picture worth seeing.

The real item under consideration here is the movie itself, and the bottom line is that it lands in a humane place. True, any viewer will go in with a certain curiosity, ghoulish or otherwise, about what it's like to jump off a bridge, and yet the overall effect of the film is broadening. To see it is to dread the bridge jumps and to come away with a feeling of compassion and empathy.

While Pixar doesn’t exactly alter the chemistry here, Hoppers is energetic and fun.

Hawkins, Bonneville and voice actor Ben Whishaw — who makes Paddington sound like the Geico gecko minus the attitude — give the film a strong base of kindness.

By creating likable characters and putting them in situations that seem plausible, if a bit of a stretch, the film succeeds where others of its genre fail.

Stallone, often tortured in his movies, is cinema’s most tortured optimist.

No film could convey all the complexities of the case - what Crude does is air the plaintiffs' claims and show the lawyers at work.