1. Snakes was the best instantly disposable cinematic event I've attended since Bride of Chucky was launched on an unsuspecting world eight years ago.
2. This kind of film should be like a porno: Don't even bother trying to come up with a plot, just cut to the money shot.
3. ...mostly delivers what the title promises and the anticipation hoped for...mostly.
4. Put simply, this is quite possibly the most fun you'll have in the cinema all year. If you like the title, you'll love the film. Highly recommended.
5. Imagine if you will that a monstrous, CGI-sized jumbo python has squeezed together Airport and Alligator. What you'd then have is Snakes on a Plane.
6. The movie isn't just mediocre -- it's profoundly mediocre.
7. Snakes on a Plane has an irresistible title and an impressive promotional campaign -- but pitches aren't plots, and marketing isn't moviemaking.
8. Pretty fun and takes advantage of its goofy premise in every way it can ... [but] I really don't envy the position this movie found itself in.
9. The movie plays to every expectation the viewer might have -- the more absurd, the better. In this regard, it doesn't miss a trick.
10. This repitilian horror thriller is the stuff of which nightmares are made.
Snakes on a Plane lives up to its title, featuring snakes on a plane. It isn't perfect, but then again, it doesn't need to be.

1. The crazy thing is that, sarcastic as Dancer is, it actually works as an anti-capital- punishment tract.
2. A film like no other, and even if only to simply bear witness to such a bold, experimental work, it commands a viewing.
3. Nothing less than a groundbreaking -- and magical -- art house reinvention of a genre that even Disney cartoons have been shying away from in recent years.
4. As a big fan of Björk, I greatly enjoyed her often stunning work both as a singer and an actor here. In fact, she does a better job of generating sympathy for herself than von Trier does for Selma.
5. This is one special film and in some ways fantastic. -- also INTERVIEW w/BJORK
6. Von Trier shows himself once again as a director with imagination, one who continues to push back the boundaries of cinema.
7. Raw and invigorating when its risks succeed and disconcertingly flat when they fail, Dancer is neither the masterwork its proponents raved about nor the disaster its critics insisted it is.
8. One of the best movies of the year.
9. This is likely one of the most emotionally devastating films ever made.
10. [Von Trier] manages to generate big emotions out of meager material, mainly thanks to the performances he gets from his actors.
Dancer in Dark can be grim, dull, and difficult to watch, but even so, it has a powerful and moving performance from Bjork and is something quite new and visionary.

1. As the loving documentary, Pete Seeger: The Power of Song, makes clear, Pete Seeger is still busy, still angry, still hopeful, still singing.
2. Pete Seeger: The Power of Song could have been called Pete Seeger: The First Punk. As the film traces the singer's long life, it also, inevitably, tracks the evolution of American countercultures through much of the 20th century.
3. A stirring, revelatory film, which captures Seeger as the media-age Johnny Appleseed of folk.
4. Fans like Bruce Springsteen and Bob Dylan express unvarnished awe, but it's the well-told arc of Seeger's life that makes the strongest impression, as director Jim Brown takes us from the highs to the lows and back up again.
5. A love letter to the singer.
6. Forget the controversial politics (that's what folk music is all about), this is a fascinating story with great music, despite the tedious last 15 minutes.
7. Joan Baez calls Pete a "saint," and Jim Brown's documentary makes a strong case for his canonization.
8. irector Jim Brown tells the story well even if he refuses to address any of the singer's missteps (such as becoming infuriated when Dylan first plugged in at the Newport Folk Festival).
9. Shallow, very officially sanctioned, and overly compressed.
10. An amazing man and an amazing film.
Pete Seeger: The Power of Song is both a tribute to a legendary singer and an informative account of the birth of American counterculture.

1. Dear Frankie is a sticky ball of sap, and you shouldn't let its accent or film-festival appearances convince you otherwise.
2. It's the lack of sentiment at the right time that proves to be the film's undoing.
3. It may have you reaching for your Kleenex at the end, but at least Dear Frankie triggers audience sniffles the old-fashioned way: it earns them.
4. A rarity: a heartstring-puller that's never manipulative, a tearjerker that's never sentimental or maudlin, and a drama that soars whenever it should be in free fall.
5. A bittersweet bonbon of a drama, full of the old fashioned literary touches that a well-written letter still can deliver in the age of e-mail.
6. Mortimer creates a complex and sympathetic portrait of a mother struggling to give her son anything she can, while McElhone portrays the son as a wise, perceptive lad who can handle more challenges than his mother is willing to allow.
7. Dear Frankie will win you over in spite of your reservations.
8. As the story takes some surprising turns, it works like a slow infection: Patient audience members may find themselves awakening to the story in much the same way the characters awaken to their own capacities for tenderness.
9. The pain that's evoked in this small, warm film -- the deep and unspoken yearning of child -- is as universal as it is heartbreaking.
10. A small movie with a big soul and no easy formula for the happiness of its big-hearted characters.

Dear Frankie is a small, good-hearted film with fine performances.