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A sweet black comedy about a professional killer from Buffalo whose gangster uncle makes him join Alcoholics Anonymous in San Francisco, falls in love with a down to earth saleswoman and cleans up his act so he can be a neater killer.

A great cast and a great script make this a surprising recommendation as a first date movie.

This movie wants to be sweet and dark at the same time, but it is as distant as a planet's satellite.

Bogs down in weak dramaturgy about love and commitment.

Sophisticated political satire, ridiculous farce, black humour, spoof, intellectual game playing and comic invention

War, Inc. squanders some top-tier talent (Marisa Tomei, Sir Ben Kingsley) as well as our patience.

I was periodically put off by a certain self-consciousness of delivery.

Great fun.

Mystery-train thriller chills, then goes off the rails.

All in all, the film is an excellent, if modest, alternative for moviegoers who have been blockbustered into submission this summer.

If nothing else, it's probably worth seeing for the kissing scene between Kingsley and Mary-Kate Olsen.

It's an old theme. Levine tackles it with gusto and verve, and if ultimately he overdoes it with a hi-end quirky style, I think there's enough authenticity here to see the film through.

As the Roman Empire crumbles, undemanding escapist entertainment with wonderful production design and a cast.

There are, after all, aimed at young audiences plenty of movies more mean-spirited, indiscriminate and obnoxious than The Last Legion. But at the same time there are plenty that are, alas, less frustrating.

If there's a small saving grace to this crude thriller, it is the work of Montreal-born director Christian Duguay, who shows flashes of real flare.

Intelligent and gripping.

Slips on the banana peel of exaggerated fear factor, falling facedown with the introduction of an ber-creep serial killer (Ben Kingsley) grimly stalking some hapless prey.

[A] visually jarring, psychologically daring trip that explores terror in a fresh, if crazy, manner.

Ingeniously combines the schlocky fun of '50s sci-fi flicks with the shock tactics of Alien and the cautionary allure of Looking for Mr. Goodbar.

Makes up for its gaps in logic with its breezy tone and its technological razzledazzle.

Right up to an ending designed to crack the sternest critical poker face, this is gourmet popcorn of the highest order.