After half a century, does the story hold up? Eh, pretty much. In the end, the story doesn't really matter that much as this is really a vehicle for the amazing visuals.

Probably the best comment I could give it is that after sitting through the first two and 1/2 hours, I would have happily sat through another five. How long am I going to have to wait for that DVD Box Set?

Clooney has finally made a GOOD movie.

OK, the premise may be a little hard to take, but there's plenty of good writing here, anyway.

Thornton's Jacob initially comes across as the love child of Elmer Fudd and Butthead, but ends up as the best role he's ever had.

Take the safety off of the comedy Magnum called Happiness and put the barrel in your mouth. You'll laugh your ass off as it takes off the back of your head...It could be the best film of the year. At the very least, I'll never forget it.

I wasn't in the mood for this film, but it got to me anyway.

This is a family film. There's a great deal of wackiness.

A very funny and painfully relevant two hours of entertainment.

They should have produced this in 3D for IMAX as Metropolis is the kind of work destined to blow the minds of stoners everywhere.

I've already seen at least 20 documentaries this year. They've left me amused, sad, informed, bored, pissed-off, whatever. I'm willing to bet, though, that I don't see another this year as richly entertaining or as cathartic as The Kid Stays in the Picture. Is it really that good? You better believe it.

I thought I might have seen everything I needed to see about neo-Nazi skinheads in "Romper Stomper" and "American History X". Not only was I in for a surprise, but newcomer Ryan Gosling gives every bit as stunning a performance as did Russell Crowe and Ed Norton in those two films, and then some.

Scorcese has made one of his best and most personal films...Kundun is also mercifully free of white teachers or saviors, such as, oh, say, Brad Pitt?

I'll just say to anyone lamenting the state of American cinema since the 1970s, if you're curious where the next generation of auteurs is coming from, look in the art houses and look in The Matrix.

Aside from all the known material on public record the filmmakers chose not to use, Howard isn't even capable of believably bringing this off.

Not a film that will change your life. It instead proves that shooting your movie with cheap technology doesn't mean it can't be fun or entertaining. In the end, that's enough.

It seems as if all of the new animation competition has lit a fire under Disney's collective ass and they have something to prove again.

I saw this movie in a room full of San Francisco movie critics, and I haven't heard that much laughter since, well, the piano duet in "Island of Dr. Moreau" (which you must admit, was pretty funny.)

Patric and Liotta are as tense and great as they've ever been.

Of all the teen films released this year, this one is, by far, the best.

It's an excellent date film, but it won't change your life.

It's ironic that a film exploring the mysteries of how people succeed and fail to connect with each other then fails to really connect with its audience.

This is not light-hearted entertainment. Be prepared to think. Uncle Dave will take you someplace new.

Gallo transcends the medium in a manner I only associate with David Lynch. It's brilliantly spooky.

Unfolding and sounding like a novel, Hartley's ensemble of lower-class losers clash and repel in a startlingly, unpreachy lesson about the importance and danger of influences.

For the most part, the film is brilliant.

Lee gives us cross-section of characters, almost none of whom escape the summer unchanged.

The film is not without its problems, some inherent to Wilde's original play.