Happy Together is Wong's most fully realized work. It is a pleasure to watch an interesting mind feel his way, and the result is something more than just a passing fancy.

The acting and writing is a cut above the ordinary.

A movie that has an odd plot, quirky characters and a real edge, but it's not in-your-face, a re-invention of a genre or a smirky independent. It's different because it's flat-out great.

The movie is an ill-advised work of egomania by someone who clearly has some talent, but not as much as he seems to think.

Never has this war been filmed with such ragged glory.

Stooge-filled farce offers low laughs but lacks a point.

Groovy.

A supremely silly movie, which means that it has moments of boring idiocy mixed with moments of inspired hilarity.

Revelatory.

Surely there's a middle ground between a Bolshevik-style elevation of history over individual emotion and a Hollywood-style idolization of emotion over impersonal history. Surely it's possible to avoid either deifying or demonizing history, but rather to seek an understanding of it - as a force that shapes private lives even as they shape it. For all its grandeur and beauty, Dr. Zhivago denies the complexity of that exchange.

The Great Ziegfeld is a monument in celluloid to the great American producer, Florenz Ziegfeld Jr. He would have been proud to write his name across it as producer. [13 Apr 1936, p.18]

Works more as an object of pop curiosity than as a work of popular entertainment.

A runny intimate portrait that doesn't trust Tammy Faye Messner and her story to enthrall you. So they've all but spelled it out: k-i-t-s-c-h.

Smart and unsentimental as it is, Shallow Grave is more than a little forbidding.

The drawbacks to Little Voice might sink a lesser movie, but not this one.

The real trouble with this movie is that it represents the continuing departure of Almodovar from the chaotic, riotous and anti-social roots that gave his best movies their zest.

Driver, who is padded but not fat, is an actress with self-possession to spare. Her looks defy conventional rules about modern beauty, but the directness of her gaze and the honesty of her smile make it difficult to look anywhere else when she is on screen.

Some nice performances and modest laughs highlight this amiable British comedy.

Director Eastwood favors naturalism and sometimes the effort to reproduce what it is like to meet someone new bogs the picture down irreparably.

This overall good feeling helps smooth over the sometimes shocking lapses in logic.

Roth, though, is like a sociopathic arsonist, one enthralled with his ability to start little blazes and one who would even call the fire department, but wouldn't stick around to see whether anyone put them out.

An old-fashioned movie. It is simplistic, full of stock characters and easy solutions to difficult problems, and I absolutely loved it.

The comedy-drama is worth seeing for Christie's performance as a former B-actress married to a philandering handyman. She radiates a mature sexuality that's a rare treat on screen these days, and when the camera strays from her, you want to reach over and turn it back.

By aiming for something more ambitiously, ambiguously philosophical, [Sayles] forgot to include a heart and a soul.

Binoche is the ideal creature for that kind of cosmetic expansion, and, here, her thorough modernity takes on an almost cruddy, Italian sadness.

Her first feature, a semi-autobiographical coming-of-age comedy, is a nicely directed, well-written debut.

There are plenty of good sight gags here, and anyone who can work the phrase "ass clown" into a script is all right with me.

A tedious, soapy romp about overlapping lives and destiny.