Harrison Ford - that most decent of decent men - helps to carry the new film on his broad shoulders. With his blunt, Everyman features and sympathetically furrowed brow, he comes off as such a solid, good guy that it's impossible not to care about his upstanding character.

Most of the time, Soapdish is fairly amusing in a zany, anything-goes kind of way. [31 May 1991, p.5]

A daft pitch-black dark comedy about family dysfunction that plays out over painfully ugly family Christmas celebration.

Rarely has a movie been so sexual without being remotely sexy. Rarely has a guy who might be admired in a sex comedy as a "playa" seemed more pathetic with each fresh conquest.

Branagh and Williams are worth the price of admission, the former "wunderkind" of British stage and screen having a go at the pretentious, plummy Olivier.

In a genre - the animated holiday film - already overflowing with the sentimental, the silly Arthur Christmas is a most welcome treat to find stuffed into the cinema's stockings this holiday season.

The Descendants lets Payne show us the Other America and the Other Americans - little lives caught up in small but epic problems far away from the La La Land of Hollywood hype, sex and violence.

The musical comedy whimsically and often cleverly revisits the characters, their shtick and and the TV show and movies that made them most famous.

A stunning exercise in 3D and a delightful celebration of Scorsese's lifelong love of the movies, something he, like Hugo, developed on childhood.

Yelchin doesn't generate the same warmth or passion that Jones does. That is partly by design, as this whole affair was her idea, after all.

The rawboned Hawkes manages both charm and menace in the same look, and Dancy gives his character a testy, fearful edge that doesn't make him scary, but rather someone we fear for.

A winning "Robin Hood and his Merry Doormen" comedy about getting even. A cast of comedy specialists each deliver their comic specialties to perfection, delivering double-takes and one liners so well that you don't notice how clunky the actual caper in this caper comedy is.

"Gattaca" director Andrew Niccol's sense of the zeitgeist is as on the money as ever with In Time, a sci-fi parable that plays like "Occupy Wall Street: The Movie."

Thanks to Banderas and his Corinthian leather purr and writers who know how to use it, "Puss" is the best animated film of 2011.

Even lacking the laughs and romance, he (Emmerich) has delivered an entertaining eye-roller of alternative history.

Though it only rarely reaches the level of gonzo farce that it might have been, "Diary" is still an agreeably drunken stagger through the novel Thompson based on his formative year as a writer.

This compelling-acted film explains, better than any soundbite, why people have taken to the streets, "occupying" centers of finance. If their rage is unfocused, Margin Call suggests, that's with good reason. There are no real heroes or villains here, just human beings with human failings making BIG human mistakes.

This tiny Catholic school for women dominated the sport at a turning point in history, and this plucky, old-fashioned sports drama sets the scene and tells the tale with a lot of heart and a dash of wit.

What this film from the director of "The Devil Wears Prada" does manage is a gentle amiability.

A first-rate one-woman-against-the-system drama.

Brewer gave the film a little Southern hip hop, and brought in real Southerners Quaid, Andie MacDowell and Ray McKinnon to further Southernize it.

The leads are charmingly mismatched, but adorable enough to root for, as a couple. Forestier is a wildly uninhibited actress, sexy as all get out. She makes this girl dangerous, seemingly capable of anything.

Restless is far more precious than profound. But that takes little away from this soulful teenage exploration of love, life and death.

It isn't a great film. But it is a smart and high-minded one, wonderfully cast, with understated direction. Clooney is good enough in the lead to stir talk of a political future.

It's a plucky film that covers a lot of ground and uncovers this wonderful, ancient ritual that people of many faiths and from all walks of life take on.

Odds are you'll find something of substance, a few life lessons in between the laughs in 50/50.

One serious omission in the film - identifying what these seemingly prosperous alumni of the band do for a living and did with their lives.

Whatever the grownups say, Manyaka's Chanda is the one person in this village who understands how simple things really are, that it really does come down to Life, Above All.