[A] bafflingly unbalanced film by American auteur director Alex Ross Perry.

If you see only one movie this summer, see the movie about the movie it took seven summers to make. Hype? You bet. But the hard sell is warranted when it comes to a documentary with a high-flying title and an action-adventure blockbuster legacy attached.

It’s all delightfully fizzy, bloody fun – even if there’s the teeniest, tiniest hint of sequel ambitions.

Great satire (read most anything by Swift) must be capable of doing more than preaching to the converted, and, measured by that lofty standard, Bob Roberts may fall a bit short. [18 Sep 1992]

The audience is invited to celebrate the purified wonder of youth and the dazzle of life’s invisible indispensables.

The best thing about the movie is the performance of Stephen Fry, who makes you hope that the real Wilde was like him. [05 Jun 1998, p.C5]

Perhaps the movie might have made more sense if the actors could have taken each other's roles: Pitt always seems light and ageless, while Blanchett never seems to have been young.

Unusual, as such movies go, in its disregard for busy theatricality.

A film of deceptive narrative wisps and intricate thematic curls.

The performances in Cutter's Way are devastated by the script. [18 Sept 1981]

If you like your archetypes writ large and your sentiment over easy, then Unstrung Heroes is the flick for you. [15 Sep 1995]

The film is simply unlike anything else to play theatres this year – a feat it will likely keep for the foreseeable future.

As Blank City proves, the all-night, every-night party was fun while it lasted.

As a history of this war of ideas and as an introduction to Jacobs, the film is essential. But it also pivots toward a great challenge: today’s global urbanization.

A movie in which TV show host Bob Eubanks tells a joke at once anti-semitic and homophobic, a movie in which a town turns into a vermin-ridden, crime- crazed black hole - this is the happiest surprise of the holiday season? What gives? [22 Dec 1989]

Pick your cliche - searing, rivetting, haunting - Keitel delivers a performance to rival Brando's in "Last Tango In Paris."

It’s a shallow and soulless outing that has no faith in the intelligence of its audience, squanders the considerable skills of its lead actresses, and, in its shallow and inert politics, is pathologically audacious in the worst sense.

Patel is not reinventing the wheel here, nor is he establishing a coherent visual language to build upon in future films, but Monkey Man is cleverly castigating and proud of its lineage – a digestible bit of mythmaking with knife work to boot.

One of the most interesting, one of the most rewarding and one of the funniest films of the year. [4 July 1986]

Director Jeremy Sims probably uses a setting-sun metaphor more than necessary, but otherwise his decisions are immaculate and his film should hold audiences in thrall. On a journey of self-discovery, the metre keeps running. Might as well, Last Cab tells us, get your money’s worth.

Casting By is also something of an elegy for a lost era, when talent, even at its rawest, stood far above prettiness as the primary reason for getting the part.

This is a flick whose failures are at least as interesting as the successes.

Felt like it was missing something. Something fun. Something small.

Whatever The House of Sand may lack in curb appeal, that view from the roof will have you gasping in wonderment.

Travolta's star presence is confirmed in Grease, a weak musical comedy vehicle . The strength of Travolta's performance isn't from dialogue but shots of Travolta reacting, suddenly becoming macho when he realizes the gang is watching him talk to his girlfriend or smothering a giggle after accidentally elbowing Olivia Newton-John in the breast. These moments alone make Grease worthwhile. [17 Jun 1978, p.P31]

Despite the heavy material, the film manages to imbue the story with heart and even breakthrough moments of joy.

Turn Me On, Dammit! is that rare thing: an honest coming-of-age story from the female perspective.

To have a great time with Barfly's funny funkiness, you don't have to share Bukowski's soused attitude toward alcoholism, however; Mickey Rourke and Faye Dunaway, whose wonderful performances transcend Bukowski's conceit, certainly don't. [13 Nov 1987]