Matt Damon

Liman adds to his knack for controlling audience tension a moody visual sense that exploits the mournful, sleeping-giant, old-world architecture of Prague as a place where action may break out at any moment, and frequently does.

If one were to rewind a James Bond movie, one might get The Bourne Supremacy, a steadfastly unglamorous spy thriller with a few adrenaline jolts for good measure.

Easy to recommend but hard to love, distinguished by Gilliam's extravagant and funny style, but compromised by creative warfare and budgetary limitations.

A potent legend of modern international relations.

Kept in balance, The Departed's verbal and visual gifts, gun-toting menace, down-and-dirty existentialism, and bristling suspense should please both sides of the movie aisle.

The film finally resembles nothing so much as its most persistent symbol: an objet d'art crafted to impress with empty trickery.

Predicated on finally delivering answers we basically already know...and cornered into bigger and better variations on the same basic action tropes, The Bourne Ultimatum turns out to be: be pretty damn exciting or get off the stage.

Wondrous, weird, and sweetly innocent, Ponyo is a tale bursting with love, which is recommendation enough for the young and the young at heart.

Despite hewing fairly closely to the facts, has trouble seeming truthful. Practically everyone behaves like an allegorical symbol rather than a person, a problem the script anticipates and acknowledges but only feebly attempts to solve.

Serves up soldiers, spies, politicians, reporters, and Iraqi civilians who speak almost entirely in clichés.

Now with 30% more grit!

A cogent synthesis of the factors leading to, defining, and resulting from the global economic crisis of the last couple of years.

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.

Though the film's heart is in the right place, somehow it all winds up about as flat as one of the celebrated pies at Mystic Pizza.

'It brings out my happy.' For kids facing a potentially rough adulthood, it's probably a message worth hearing, maybe more than once.

Let me begin by saying something nice about Cameron Crowe’s We Bought a Zoo: kids will probably like it. Okay, that’s all I’ve got.

There's a tough-mindedness there that's admirable, even if it's preaching to a mall-multiplex choir. But one wishes Blomkamp were less concerned with his Halo-style run-and-gunning and more interested in the subtler repercussions...

It all feels a bit like an overearnest deleted subplot from someone else's war epic, rather than a confident Clooney picture.

Perhaps the purest ode to science mainstream cinema has ever produced, a love letter to NASA and STEM education.

Terrified to do anything different (which, believe it or not, would be entirely possible)...it only takes a moment of awareness to step outside the movie and see how poorly written, insultingly recycled, and anti-creative Jason Bourne is.