The movie is a relentlessly enjoyable star vehicle and a hard-charging action-o-rama full of the usual Bondian elements, for the most part well done. It's one of the year's better action films.

The most emotionally rich and cinematically thrilling film I've seen all year, a film that pulses with human life in all its terrible and beautiful irrationality.

This is Boyle's fullest, most satisfying work and an audience-pleaser that deserves to be a big hit.

In this brand of comedy, nothing succeeds like excess, and this film is seriously deficient.

An inspired melding of action thriller, satire and biographical drama through the looking glass of a funhouse mirror.

Herman's intentions are admirable, but his results are unsettling in the worst ways.

The film shoehorns in every memorable character from the original film.

The movie also qualifies as a kind of low-rent, male version of "Dreamgirls," but -- while many of the numbers are pleasant -- it doesn't have the moxie to work as a musical.

Think of it as a buffet of romantic comedy comfort food: the good old American standbys complemented by bland international dishes.

Zack and Miri is funny, and Rogen is a natural as Smith's alter-ego, spewing profane dialogue like he was born to it.

Campbell fans will get a kick out of it. The rest of the world will likely find this spoof a little too insular and indulgent.

The film strains to achieve the comedic gait of "Wag the Dog" or the improvised, overlapping style that so defined Robert Altman's Hollywood movie, "The Player."

You can feel the debt to Sidney Lumet's '70s studies in police corruption and cop brotherhood, but O'Connor never captures the edge of danger, anger and moral stands being ground up in compromise.

No spoilers here, but there are enough hints that the incoming class of happy-go-lucky theater folk will have plenty to do in the already-in-the-works fourth installment.

Changeling doesn't care if you love it or hate it, it makes no compromises to fashion and it's charged with that unmistakable assurance of a master filmmaker at his creative peak.

For all its moodiness, despair and disconnect, I've Loved You So Long is all about acknowledging human error and embracing ties -- to family and life -- that can't be undone.

It's a little long and dissipates some of its power in an unfocused subplot, but the skewed sensibility of the film is both innocent and feral and offers a smart and satisfying reworking to the familiar genre. An American remake is already in the works.

Although obviously a stretched and lightly drawn caricature -- the cerebral writer is obsessed with his work, has metaphorical skin problems, can't have sex without weeping, etc. -- Cotard is real. Or as real a representation of an artist as we're likely to get in this biopic age.

Despite the cultural and artistic differences among the contributors, the overall production design maintains a unified tone, helped in part by Laurent Perez's eerie soundtrack.

Seems a much more even-handed and thoughtful take on the man than anyone might have expected.

A dumb film with a great conceptual hook from a director who visualizes better than he dramatizes.

Vividly captures the joy of sailing.

It's the strength of the actresses and their nurturing community that makes this Eden so satisfying.

The first half-hour of this movie is super-worse, with only some sub-"American Pie" gags fleshing out the lame-brain plot, but once it gets on the road, there's pleasure to be had.

As good as it is in pieces, its protagonists are distancing, its story is tangled, its film-noir cynicism is oppressive and unglamorous, and it just doesn't leave us with the satisfying unity of the kind of great movie it wants to be.

It's a fine moral and an admirable statement, but it's the portrait of an icon rather than the story of the person thrust into that position.

It's a little visually precious and obscure but still a marvelously wistful film of regret and retreat, in which even the magic wine of forgetfulness erases only the memories, not the pain.

It scores few points for originality, but it's a fuzzier, less pretentious and more enjoyable movie.