Youth in Revolt is basically an absurdist ramble, but a terrifically likable ramble.

A severe and eerily beautiful German-language drama.

The movie as a whole is clever, and conspicuously overwrought. But Mr. Downey's performance is elegantly wrought; he's as quick-witted as his legendary character, and blithely funny in the lovers' spats—all right, the mystery-lovers' spats—that Holmes keeps having with Jude Law's witty Dr. Watson.

After listening to Jane and Jake talk it out in the interminable process of working it out—they explore their relationship as exhaustively, and exhaustingly, as any kids on Facebook—I found myself wishing for more shallows and fewer depths.

The movie comes on like a put-on--next to nothing happens for an excruciatingly long time--and ends as a fascinating dialectic between following one's conscience or following the law.

Much of the time, though, you're transfixed by the beauty of a spectacle that seems all of a piece. Special effects have been abolished, in effect, since the whole thing is so special.

The carnival is loud, brash, brassy, sexy and sometimes tacky or silly, but always entertaining.

Crazy Heart is blessed with so many marvelous moments, lovely lines and vivid characters.

I watched the film in an agitated space between engrossed and aghast.

A win-win situation in which a mainstream feature works equally well as stirring entertainment and a history lesson about a remarkable convergence of sports and statesmanship.

The best of Up in the Air--meaning most of it--is right up there with the fresh and sophisticated comedies of Hollywood's golden age.

The entire film is a seduction, one that draws us into a vanished world where Count Leo Tolstoy and his wife of 48 years, Countess Sofya, come to joyous, tempestuous life in a matched pair of magnificent performances by Christopher Plummer and Helen Mirren.

Between the two performances there's not a false note. Between the father and son there's an unbreakable bond. Though civilization has ended, love and parental duty shape the course of this fable, which is otherwise as heartwarming as a Beckett play shorn of humor.

Mr. McKay is in his mid-30s, and doesn't conceal it, so what's the point? By taking the KIND out of WUNERKIND, the movie also removes the WUNDER.

The sparkle is what's been missing in the star's (Cage) recent performances. What's not to love in a movie that transmutes Terence's moral squalor, and the squalid state of post-Katrina New Orleans, into darkly comic gold?

Mr. Almodóvar's love of movies informs every frame of this beautiful film.

Mammoth manages to be as affecting as it is heartfelt.

The immensity encompasses such variety, subtlety and intimacy that you may find yourself yearning for more.

Operates in a dead zone roughly equidistant between parody and idiocy. You do get the connection between tongue and cheek, but much of the humor still goes thud.

A captivating entertainment for the holiday season and well beyond.

Richard Curtis's comedy is anchored only in exuberance, but that's more than you can say for most movies these days; it keeps you beaming with pleasure.

Genuinely and irresistibly inspirational.

Mr. Osunsanmi's chutzpah exceeds his skill.

This sad excuse for family entertainment tries to enshrine a classic while defacing it.

You may wonder if this screen version of the book of the same name is as unfunny and strangely mushy as it seems, but trust your instincts.

A spectacular record of rehearsals for a show that wasn't to be.

Amelia Earhart is still missing.

By turns repellent, powerful and ludicrous, Antichrist piles horror on horror with pitiless passion.