Emily Mortimer

No one in the film comes across as a flesh-and-blood character...Birth is overdressed with nowhere to go.

Dear Frankie isn't a good film, but it is a nice little movie...[about] what can happen when people become the conscious artists of their own lives.

Amounts to little more than an austere and extremely prolonged episode of Alfred Hitchcock Presents.

Martin's innate verbal panache is the only asset that shows any reliability here.

In the generally deft new anthology film Paris je t'aime, short films are like streetcars.

An allegory of what's wrong with our country...Mamet has spent the last decade layering popular entertainments with subversive ideas about social politics.

Sweet, sad and funny...an entertaining fable about the phenomenon of socially crippled singles.

Director John Lasseter pushes the credo 'Story is king,' but the sequel to the 2006 hit Cars unwittingly abdicates the throne.

Unmistakably Little Miss Sunshine-y...a sunny sitcom of family dysfunction...

By setting the show in the recent past, Sorkin can productively remind or inform a broad audience of the pith of important news we've lived through...a subplot about [NSA] wiretapping...[even] gets ahead of the curve...