Emily Blunt

Press and Blunt['s] characterizations are expressively detailed and never rely on declamatory dialogue or excessive behavior.

If it rarely becomes more than a conventional Hollywood movie with conventional conflicts, at least it remembers to amuse, and has a force of nature in Streep.

There is nothing new under the sun, but at least the talented Boyle still brings the heat.

The sort of movie you root for, hoping it’ll break through to be something special. It never quite does, but it still has the not-insignificant value of two fine actresses cast as sisters.

As interpreted by first-time director George Nolfi (screenwriter of The Bourne Ultimatum), Dick's story transforms into an endearingly silly allegory of the mysterious interaction of free will and fate.

And thus the old joke has finally been fulfilled of someone pitching Romeo and Juliet to Hollywood and hearing in response, 'Couldn't they live at the end? I mean, it's kind of a downer.'

Pessimism, sweetness, raunch and loopiness make for a pleasantly offbeat blend.

Turns out not to be heady in theme and may not linger long after viewing, but it's still an enjoyable emotional wringer to be put through, in the company of a well-matched trio of actors.

As much as it deeply understands the artistic mindset of a driven creator, it also acknowledges the darker implications of a genius' tunnel vision.

A fairly eye-popping futuristic war story with a clever (to a point) structure.

Mutlilayered...Though any film adaptation of a classic musical is bound to be a mixed bag, Sondheim fans have dodged another bullet here with this impressive transplant, one that retains the play's complicated moral character along with most of its music.

A mental-health exploitation picture. 

There’s plenty...that doesn’t hold up to scrutiny and even more that feels conspicuously derivative. But tell that to your pants as you pee them.