Michelle Monaghan

A thrill ride, and a gripping one: plausibility-straining, predictable at times, but pulse-pounding all the same.

Not much distinguishes this determinedly average Hollywood outing, but it can claim Sydney Pollack's final performance and Patrick Dempsey's first big-screen starring role since his career second-wind...

So colossally ridiculous (and transparently derivative) that willing suspension of disbelief is a fool’s errand.

Somewhere feels like it’s made by the grandchild of Antonioni (and, in an artistic sense, perhaps it is). It’ll drive at least half the audience crazy, while the rest will walk out with a light buzz.

Since Source Code is philosophical science fiction and not just 'sci fi,' there's something to chew on here about consciousness: when it begins and ends, and that old chestnut of what constitutes reality.

Butler delivers an unconvincing performance that's part and parcel of a phony film lacking in any narrative subtlety or finesse.

Resembles its own remarks about predictable patterns in the circuitry of arcade games: here is a series of crass caricatures, obvious setups and payoffs (not to mention a woman problem...), further suffocated by overweening commercialism...

'Terror bad. Boston strong.'

Fallout proves deliberately dizzying, not just with its oft-vertiginous action, but in its outrageous plotting, its deliriously absurd entanglements of double agents, double crosses, and just plain doubles...