Critic consensus:Glitter is a hodgepodge of movie cliches and bad acting that's sure to generate unintentional laughs. Unfortunately, the movie is not bad enough to be good.

Numbered reviews:1. have risen above screenwriter Kate Lanier's mundane show-biz saga.
2. Another of what have become far too common lately: unintentional laughfests.
3. We don't have much space to tell you about Glitter, so we'll be blunt. This star vehicle for singer Mariah Carey is primarily a showcase for her breasts.
4. The great failure of Glitter is that it stops just short of being deliciously bad enough to qualify as a camp classic.
5. Too poorly made and cornball even to qualify as kitsch.
6. A sugary, over-produced power ballad of a movie.
7. Glitter could have set its sights higher or at least could have been more even in tone, but there's no denying that the material fits Mariah Carey like one of her skin-tight gowns.
8. Hampered by shallow sentiment, awful dialogue, loose plot threads, a sucky romantic subplot, and ugly voice dubbing in places.
9. Carey's exceedingly modest acting talents will likely have her fans advising her to keep her day job.
10. Everything about this complete tripe is ludicrous.


Critic consensus:Ponderous and overlong, The Majestic drowns in forced sentimentality and resembles a mish-mash of other, better films.

Numbered reviews:1. A heartfelt and surprisingly successful revival of the cinema-idyllic world of Frank Capra movies.
2. I think Americans are in the mood today for a sentimental movie about their values, and, frankly, it's wonderful to see people get teary-eyed over the First Amendment.
3. Do Sloane and Darabont really think they can drop the complex blacklist agony into this vat of mush, and say something real?
4. Darabont and screenwriter Michael Sloane's misty-eyed tribute may be pleasant in places, but it's too manufactured and deliberate to be persuasive.
5. It can't fake sincerity. It tries ever so hard, but it doesn't have a single believable second.
6. Marks a steep downturn in Jim Carrey's career.
7. If the tone...tends to lean toward mawkishness in the last half-hour, what is appealing...is its almost stubborn yearning to be like the motion pictures of yesteryear.
8. A decent picture that you really want to like, but that unfortunately doesn't come close to matching the director's previous efforts.
9. At 2 1/2 hours, this movie is about an hour too long, and this makes an obvious story obnoxious in the extreme.
10. Mr. Carrey may go to both Washington and a version of Bedford Falls in The Majestic, but he is neither the Jefferson Smith nor George Bailey of Stewart's best-loved films.


Critic consensus:An unpredictable scary thriller that doubles as a mournful meditation on love, loss, and human comfort.

Numbered reviews:
1. Vertigo (1958) is one of Alfred Hitchcock's most powerful, deep, and stunningly beautiful films (in widescreen 70 mm VistaVision) - it is a film noir
2. The most-discussed work of the master; despairingly sardonic and demanding of multiple viewings.
3. Hitchcock's twisty, suspenseful tale is far more involving and memorable than most recent Hollywood thrillers.
4. What can one say? Exquisitely controlled, framed, scored, acted, and edited. A peerless triumph.
5. Often imitated, never duplicated.
6. Justifying Vertigo's poor initial performance, it is a film that requires distance, as well as the completion of Hitchcock's career. It is a moment of acknowledgment in the final, retrospective establishment of the director's frequent themes.
7. This is one of the single most masterful pictures ever made.
8. What a perverse little gem this is.
9. Pure Hitchcock.
10. James Stewart, on camera almost constantly, comes through with a startlingly fine performance as the lawyer-cop who suffers from acrophobia.