William Bibbiani

It’s profoundly troubling and all the more powerful for its simplicity.

A welcoming, silly motion picture for children who haven’t grown too cynical for whimsy, or are just cynical enough that they can be pulled back from the brink.

The best punchline in the film comes in the blooper reel — always a bad sign.

Richet’s film spends so much time introducing a world of corporate espionage and melodramatic betrayal that it doesn’t even make sense when Statham gets on a boat. I repeat, the boat is the least convincing part of Jason Statham on a Boat.

I like my elegiac masterpieces the way I like Matthew McConaughey: COVERED IN BEES.

A fabulous document of a fabulous stage show. The only real complaint is it’s such an efficient production that it’s over too quickly.

Green’s film dramatizes all the awful things that were about to happen to itself, and the fact that it’s finally out — and that it was brilliant all along — is an ironically cheerful conclusion to a film about constant struggle.

The Wrong Girls always looks like it’s veering out of control but Meyer knows where she’s going and how to get us there. She also knows we’re probably high as hell and want to take the scenic route.

There aren’t many performers who light up a screen like Lynskey [...] and watching her flicker breaks your heart.

The film confuses surviving a life-threatening ordeal with confronting the things that truly scare us.