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For a film that traffics in implacable malice, this movie remains remarkably grounded in the everyday.

McCarthy's ferocious tale gives the Coens room to unleash their cinematic gifts, but keeps them from wandering too far afield and losing themselves in the marshes of technical prowess or easy irony.

The film version is pure wish-fulfillment fantasy.

Eat Pray Love is a two hour and fifteen minute ad for being rich; it's a smug, patronising travelogue that -- despite its already apt title -- could have also been called First World Problems: The Movie.

For all its meditations on romantic disappointments, this is a slight, sunny film. Anyone in need of some superior escapism should see it straightaway.

Slight, disposable but entertaining. Vicky Cristina Barcelona is an awful lot better than anything in his thankfully short "British" period.

Unlike the unfilmable novel, Newell's discordant picture exhibits the worst symptoms of fever itself: unpleasant to endure and then quickly forgotten.

Though Cartagena in the late 19th Century is beautifully evoked in director Mike Newell's visually sumptuous film, there's something missing at the core of this love story.

Biutiful is an exploration of fatherhood, guilt, culpability and mortality.

Javier Bardem was Oscar-nominated for his performance and the film got a nod for best foreign-language film, but don't let that fool you; it's a stodgy, self-important slog.

Captures the essence of the period -- an intriguing, backward era in Spain -- but without the emotional impact that such a film requires.

Think of it as an Amadeus that doesn't work.

Bardem is simply astounding as Sampedro.

If ever there was a film that deserved to get the proverbial bump from Oscar, this is it. Rarely has any film so focused on death felt so vibrantly alive.

In uniting to honor Arenas, Bardem and Schnabel create something extraordinary.

Clearly this is Bardem's show. And Bardem walks away with it.

Filled with tension and a genuine air of uncertainty, Malkovich has delivered a truly riveting film.

The Dancer Upstairs is, like its director, sleek, mysterious and intelligent. But until its last-half hour or so, it is also, unfortunately, mind-numbing.

It's been a long time since I enjoyed a Bond movie so much.

I have no compulsion whatsoever in declaring Skyfall, in terms of cinematography, the best looking Bond film ever ... Action movies simply don't look like this - but ... this is no ordinary action movie.

In these days of cutbacks and belt-tightening, its story has a strong resonance.

A small, intimate film that moves viewers with its passion.

The movie wants to explore looming crises of faith, but for Malick fans it's in serious danger of entailing one.

There's a phoniness to the film's people and places that keeps us at a fatal distance from the big ideas with which 'To the Wonder' seeks to engage us.