Sophomoric silliness.

Soderbergh's film will be remembered less for the (inspired) star casting than for being one expertly made piece of pure, unpretentious popcorn entertainment.

Just about the truest and most satisfying screen adaptation most anyone could have ever hoped for.

While never sacrificing any of the hard-knock authenticity and specificity of his characters and their milieu, Brewer has crafted a deeply felt film.

The film is filled with extraordinary characters and equally extraordinary circumstances that Hollywood could craft no better in any feature script.

Brosnan's best mission as Bond yet, and the most satisfying installment of the franchise in recent memory.

What ultimately comes through is an undeniably imaginative work that is a glorious testament to the limitless and largely untapped possibilities of cinema.

While the audience has its laughs along the way, the violent tension of war often threatens to erupt, and slowly, subtly gathering force is the film's emotional weight, which is potently felt by the film's indelible (if not exactly unexpected) concluding image.

Confirms that despite all the technical tools at their disposal, one thing counts head and shoulders above razzle-dazzle eye candy (or anything else, for that matter): the story and characters, and Monsters, Inc. introduces worthy additions to the Pixar pantheon.

The much-publicized decision to go "younger and sexier" with the casting--a move that turns out to pay off handsomely, enhancing and enriching the material.

Love it or hate it for its content, one must concede that it is nothing short of a technical marvel.

Beautiful moments of performance such as Forster's subtly spellbinding monologues -- make for compelling cinema.

Any embedded message ultimately pales in importance to moving and understated story of love.

There's no doubt that sheer mechanism propels Happenstance, but the numerous characters and storylines flow and converge in a gracefully unpredictable and witty manner.

Smoothly seductive.

A friend called Fred Schepisi's ensemble drama "a crusty old white man's 'Joy Luck Club'" -- an assessment that isn't without some kernel of truth.

Smart, complex, and engrossing idea-driven action thriller.

Forces a self-examination that is both traumantic and revealing.

Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.

August so firmly establishes characters of Martin and Barbara and their relationship, so when the disease does enter the picture, the film does not suddenly become about that; the focus clearly remains on the effect it takes on the people.

Sublimely silly and genuinely sweet film.

Much like how its employees and patrons don't want to see the barbershop close, once one has become acquainted with these people and this place, one may not want Barbershop to end.

With Simone, Niccol makes what seems like a preposterous idea not only fresh and entertaining, but most of all reveals said idea to be not at all far removed from reality--as any good satire should.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

Strongly infused with an unmistakably exotic Bollywood flair.

Serendipity leaves one with a pleasant feeling few films generate: that of wanting more.

As it stands Changing Lanes already exceeds expectations, provoking serious thought while skillfully telling a compelling, character-driven story.

All the household changes give the film an episodic quality that leads to a certain start-and-stop dramatic momentum. But fresh face Lohman holds the film together emotionally, more than matching up to the bigger name stars that turn up in supporting roles.