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A patchy and overlong sequel but still full of humour and top-notch action.

The new plot has all the appeal of a seaweed sandwich, being dark, salty, and indigestible.

A few laughs, some fantastic CGI and a great cameo from Keith Richards aside, this is turgid and tiresome.

Mind-bogglingly, there's virtually no swordplay for the first two hours; when Keith Richards shows up for his soused cameo, the visual joke hangs in the air.

The story is ... urh. No film has ever had a more irrelevant story.

A sage once advised being wary of movies in which the people on screen are having more fun than the people in the audience. Mamma mia, was that good advice.

Towering performance by Matt Damon as a troubled working class who needs to address his creative genius elevates this drama way above its therapeutic approach, resulting in a zeitgeist film that may touch chord with young viewers the way The Graduate did

The film works as a character-driven narrative because Mr. Van Sant and his co-screenwriters are not afraid to unlock the psychological mysteries of their five major characters with clear and concise dialogue.

Tom cracks the code, again.

Why are quality pros like Howard and Hanks involved in this enterprise? Do they need the money? Angels and Demons is sure to make plenty. But their artistic souls will do hard time in purgatory for it.

[Weisz'] performance that transforms her from actress to movie star.

The best parts of the movie, like the scene with William's mother, involve isolated set pieces in which Weisz interacts with another actor.

Love, the filmmakers repeat ad nauseum, is the only act of freedom in times of trouble. 

So it is about girls, after all...

In Amistad, an admirable but disappointing effort...[Speilberg] veers between stoic political correctness and mushy Hollywood platitudes.

Spielberg seems to be dividing his filmmaking output into two distinct halves: in the summer months cranking out no-brainer dinosaur flicks...in the winter season unveiling his serious artistic stuff to edify the adults and woo the Oscar crowd.

Ronin reps a pleasurable throwback to the sort of gritty, low-tech international thriller that was a staple of the 1960s.

At times, amid this movie's flurry of robustly filmed heists, betrayals and car chases, it's so good, you begin to wonder if inspiration and depth aren't overrated.