Elegantly crafted and filled with flawless performances, this mysteriously charged drama comes alive in its very first frames.

Cuckoo brings up a lot of ideas but doesn’t organize them into anything like a satisfying resolution. As frenzy follows frenzy, it aspires merely to create a feeling of senseless chaos.

Adolescent is the ruling adjective here; this is an increasingly tiresome and almost wholly senseless feature.

This remake isn’t terrible, just tentative and too long by at least 40 minutes.

The Man Without a Face is nothing if not respectable, and occasionally it is something more than that. [26 Aug 1993, p.A9]

It's gleefully bold, visually adventurous, often funny, strikingly concise — the whole heart-pounding tale is over in 90 minutes — and 100% entertaining.

Writer-director Alejandra Márquez Abella never makes the slightest suggestion that José isn’t going to get where he’s going, but neither does she make A Million Miles Away into any kind of ethnic agitprop.

Mistrustful of its audience, it's full of actors -- apart from Streep -- playing broad attitudes rather than characters. Crafted like a high end TV show, it's a sort of video Vogue -- lite, brite and trite.

With its retro pacing, its pretentious lapses and its narrow emotional range, this elegantly crafted existential thriller risks alienating its audience; at times it feels like a test for attention deficit disorder.

It's a diverting mess, sometimes even a delightful mess.

Swamped by clichés, continuity problems, stock characters and very good intentions.

The movie generally looks great, thanks also to Dominic Watkins’s expansive production design, yet it thinks very little of its audience and comes across as a pee-wee “Game of Thrones.”

This story of 12 manipulable -- or manipulative -- men and women rarely fails to hold your interest, even though much of it doesn't hold water.

It's a trip into a primordial world and primeval sensibilities, and if you're looking to shake off the mall-movie blahs, there are few better places to look.

If Ice Age lacks the fit and finish of top-of-the-line films from Pixar, DreamWorks or Disney, it's still an impressive piece of work for a new feature animation group, and a harbinger of cool cartoons to come.

Notwithstanding some clunky moments, Mr. Ansari not only engineers up-to-the-minute twists on the musty Hollywood angel movie, but decorates his story with clever dialogue and wicked observations about street-level existence in the City of Angels.

A 3-D fantasy that's lovely to look at but less than delightful to know.

You'll miss out on some really great stuff if you don't see this surprising movie.

A train wreck of mind-numbing proportions.

No one in her world can explain her lack of self-regard, her increasingly strange behavior, all symptoms that lead to scenes of riveting tension, much of it due to the subtlety Ms. Brie brings to the role of Sarah—notwithstanding a deluge of schlock involving paranormal visitations.

Some of the movie's most stirring scenes take place during Betty Anne's prison visits, when the laughter has stopped and her innocent brother contemplates his shattered life.

The determination to find greatness in the ordinary gives Song Sung Blue a magical, unforced luminescence that much more immodest films usually lack.

The third entry features visual effects that are no longer novel, which means the writing deficiencies are now impossible to overlook. Without a compelling story, what emerges is not a movie but . . . a ride.

James Caviezel makes us care more about that innocent romantic, Edmond Dantes, than we may care to care about the rest of the picture, which entertains in fits and starts, with startling ruptures in tone.

Everything that was modest, soundly grounded and therefore horrifying about the 1971 rodentarama that starred Bruce Davison is now insistent, Grand-Guignol-intense and therefore shrug-offable when it isn't downright awful.

Joy has been replaced by a sense of laboriousness, even though the action sequences move along energetically enough and the movie does have moments of comic-book charm. [9 Feb 1996, p.A12]

This is not a simple picture. It's serious, disarmingly funny at times and certainly ambitious, yet diminished by some of the traits that have made the standard Sandler characters so popular.

There’s no secret life because there’s no life, only the promise of pets in perpetual motion.