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Rachel Getting Married is an extraordinary achievement.

The pace never slackens, the prattle is relentless. And in the end I was moved.

Clancy's script is better than his direction, with several high points in both dialogue and scene construction. The material is darkly funny but not so dark as to be vicious.

Eulogy is dead on arrival.

Though you couldn't call Love a complete success, it's packed with talent and intelligence, wayward poetry and bluesy longing.

A movie that can't get sufficient distance from Leroy's delusions to escape their maudlin influence.

Terms of Endearment is about three relationships and students of screenwriting would do well to study the way in which these three stories are told completely and effortlessly in a movie of average length.

Its quirky rhythms and veering emotional tones are very much its own, and they owe less to movie tradition than they do to a sense of how the law of unintended consequences pushes us ceaselessly through the years, permitting no pause for perspective.

[An] hour and a half of wearisome quirk and smut...

Gerwig's dreamy style worked in Whit Stillman's Damsels in Distress, because the movie created an eco-system of oddity in which that style could thrive. But here it just grates.

Towards the end you wish they'd just get it over with, but this film usually overcomes even the most cynical viewer's resistance.

Some nice one-liners and a bit of good scenery help the story of a whirlwind romance that turns to salt when she later joins him Stateside.