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While the crunchy fights and unflagging pace ensure this delivers as genre spectacle, the muddy ethics also make for a pleasing contrast with standard-issue wham-bammery.

Despite all the globe-trotting, the on location shooting combined with the gritty street-level acrobatics lend a palpable sense of reality and suspense.

A huge leap of faith is required to connect, and many plot details appear to have not been properly thought through.

[Director] Greengrass proves himself equally adept at action, building on the edginess of Doug Liman's original with a feverish handheld camera and frenetic editing.

A first-rate thriller with grit and intrigue to spare.

For once, a sequel would be welcome.

Hollywood corrupts absolutely, and Mamet turns the toxic process into the year's best and smartest comedy.

State and Main might be the perfect David Mamet movie for people who don't like David Mamet movies. The nice thing about it, though, is that it won't disappoint the rest of us.

As teen melodrama, well, Carter's film is what it is; but for such a mainstream black-consciousness movie, at least it doesn't shy from addressing some touchy issues about masculinity, parenthood, and black attitudes to whites.

A refreshingly friendly view of a romance between people of different pigmentation, an area where more respectable pictures still wimp out.

Devoid of enjoyment, intelligence or interest.

Roberts asks her students rhetorical questions: What makes art good or bad? Who decides? But the movie answers them as canonically as the syllabus Roberts abandons.