Viola Davis

It’s too easy to hold the film’s at arm’s length and scoff at Sparks’ cynical repetition of psycho-romance clichés and meteorological metaphors.

Good to the last drop: the guilt-drenched final line is a prism revealing new facets of character and theme to ponder on the way out of the theater.

Julia Roberts and voluptuous production value contribute mightily to this ultimate of wish-fulfillment tales.

As a pure popcorn, dreams-writ-large, kiss-kiss-bang-bang, globetrotting romp, Knight and Day delivers.

If only The Help accepted more of Davis’ help, we might have a work of art on our hands instead of another condescending, half-baked history lesson.

Except as a tool for pediatric grief counseling, Extremely Loud and Incredibly Close amounts to a fetishization of its own trappings (the boy, NYC, 9/11) more interested in Oscar than Oskar.

A novel but muddled supervillain action movie...Some comic-book fans will lap it up, but Suicide Squad is all sauce and no meat.

An American classic writ large.

The diffuse storytelling somewhat dilutes the film's themes but Viola Davis, a Terence Blanchard score and an inherently interesting milieu are all good reasons to see it.