In addition to a very engaging script, Forrest Whitaker and James McAvoy amazingly express the tension and the camaraderie shared by Amin and Garrigan.

Splendid.

Absolutely--four out of five stars for being cuter, funnier, and, besides, the character design far exceeded my expectations.

Even if you already knew the facts, you won’' be able to help but reflect in awe at how much progress in the fight against discrimination has been made on a societal level.

A little bit of screwball comedy and a lot of film noir, add a dash of suspense-drama, and half a dozen card tricks too, then you have the recipe for making The Brothers Bloom.

Neither hater nor admirer, I still get wrapped up in his (Owen) mannerisms and emerald stare.

McGowan’s film isn’t just about following this boy’s private quest to accomplish the impossible. It is also about how he affects the other characters in the film.

In terms of "narrative," the film keeps excellent pace, maintains your attention, and educates you on psychological ramifications of memory.

When The Namesake ends, one feels as though one has lived with the characters instead of just watching them.

Overall, I found myself not hating the film. There's just one thing that troubles me about the way Nancy Drew is depicted. She is determined, a perfectionist, uber-organized, and efficient. Those qualities can be associated to geekdom, but they’re also symptoms of someone with a propensity for disordered eating or obsessive-compulsive disorder. Hmmm.

Hathaway's exuberance and dramatic range are fitting for this portrayal of the celebrated literary figure.

The acting is unquestionably strong, the songs are integrated appropriately (functioning as both audio bridges and dramatic enhancements), and yet something is missing in how the individual pieces of the film--the story, the themes, and the violence--fit together.

Impressively stays away from the cheese and the sap that ordinarily accompany holiday pictures.

For Carmen, Tibby, Lena, and Bridget, their sisterhood shines even brighter the second time around.

I'd like to recognize Russell Gewirtz for a screenplay that boasts humor, an impressive plot twist, and for setting up plenty of room for De Niro and Pacino to get their grooves back in order.

So think of it this way: Miracle at St. Anna is a Spike Lee joint that possesses a European texture in the vein of Guillermo Del Toro and Jean Pierre-Jeunet. Imaginative, thought-provoking, and intense.

Two-and-a-half hours of family bickering, bantering, and pummeling can be draining for the viewer, particularly when many of the characters are easy to dislike.

A chick flick in the purest sense--it's not about men or falling in love--and is quite funny.

Oddly engaging and has me wishing I could spend a week observing Jeannie, Lauren, and Merrill...you know, without a camera as a mediator.

Conveys a much louder political message and the implementation of violence reflects as much.

For most of the film's 104 minutes, the characters have experiences that range from serious to zany. Although I can't formulate a better resolution to the narrative conflicts, I Love You, Man ends on a note that is too cute and conventional to accept.

A horror film that scares you to insomnia is good in the sense that it succeeds in what it sets out to do.

As a matter of fact, Initial D is an anti-car racing film. It's not about thrills; it's about how to perfect the art of drifting, philosophy, and how to transcend the human condition.

House definitely put a smile on an insider's face, but outsiders can enjoy the ATL too. The only prerequisite here is the ability to laugh.

A brilliant exploration into the implications of Freud’s theories on one family.

Isn't a bad film per se--it’s just an empty film.

I generally wince at the thought of a foreign film receiving a Hollywood do-over, but No Reservations satisfactorily Americanizes its German predecessor by taking an originally more serious story and adding to it a lighter, more comedic tone.

An amusing and timely distraction.