Paul Dano

[I] immediately felt a sort of uncanny personal relationship to it: the characters, the sense of love in this really great struggle...a lot of pain. [Richard Ford] somehow wrote about this very difficult situation with a great amount of compassion.

Miller freely uses the unusual as an allegory for the most usual of subjects: parentage and the rocky path from childhood to adulthood.

Pulls off the trick of the feel-good movie in a way movies haven't managed in a long time.

Anderson's most mature and ambitious film yet...[though his] growth as a filmmaker remains hindered by an obsession with effect and a disinterest in depth.

An existential nightmare of maddening uncertainty, a notion only emphasized by Reichardt’s commitment to ambiguity.

In a time of mind-numbing rom coms, Ruby Sparks uses fantasy to get real about modern romance.

Honorable...deeply moving...takes a considered approach to Wilson, sound in dramatic and editorial construction and insightful in its psychological subtexts.

For a long two hours, Sorrentino flatters old white men, devalues women, and annoys with his lush coffee-table-book photography as he plays his own 'Simple Songs' of frustrated old age and tantalizing youth...

First-time director Dano, who co-scripted with partner Zoe Kazan, has a knack for capturing quotidian daily struggles as well as moments of discovery that hearten or, more often, horrify.

While retaining requisite elements of blockbuster action cinema...decidedly shifts the focus to pulp fiction...The Batman feels more like a Batman story than a Batman movie, and that's an achievement in itself.