Stephanie Zacharek Quotes

Women's desire is a mysterious, feral thing, and if you think you've got it figured out because you've looked at a few Georgia O'Keeffe paintings, you're not even close.

Extravagant in movie terms but stingy in emotional ones, it embodies all of [director Steven] Spielberg's bad impulses and almost none of his good ones: It's a grand display of how well he knows how to work us over, and yet the desperation with which he tries to get to us is repulsive.

You can talk film theory till you're blue in the face, but in the end, the thing that may haunt you most about a movie is a pair of eyes.

It's mournful and troubling in a way that goes beyond ordinary movie manipulation. It burns clean.

There are epic impulses everywhere you look in There Will Be Blood; what's missing is character development, focused storytelling and, most significantly (apart from that terrific opening sequence), any sense of raw, intuitive drama.

I suspect this picture is pretty close to what fans were hoping for, and for their sake, I'm glad it's markedly better than the two that preceded it. But Revenge of the Sith is still crap.

Oldboy makes us feel a part of something bigger than ourselves. It's a grand, gritty, indelible experience, the sort of picture that mimics great literature in the way it envelops you in a well-told story while also evoking subtle but strong gradations of emotion.

[Director Christopher] Nolan ... gives us enough multilayered subplots to at least fool us into thinking this is a work of intellectual and moral complexity. But as a piece of visual storytelling, from shot to shot, The Dark Knight is a mess. Characters disappear from one locale and show up inexplicably in another, thanks to the magic of editing. At one point, we learn two characters have been abducted, but Nolan doesn't bother to show us who did it or how. (Later, he explains the "who did it" with dialogue -- the lazy way.) At the end, a major character is left hanging, literally, as we are figuratively. If this is genius, give me hackery.

It's impossible to tell what's going on at any given moment in Tomb of the Dragon Emperor; it's even harder to care about being able to tell.

The most interesting character here is an animal, a sturdy-looking white and black bulldog, who appears throughout the movie, angel style, to speak the truth -- silently. In this load of mind-bendy bushwa, he's the only thing worth watching, or listening to.

It's possible [director Jody] Hill has a style, of sorts. But he doesn't work from the heart, or from the gut, as a good comedy director generally needs to. He operates from one guiding question: "How disturbing can we make this shit?"

It's time to start recognizing that not all escapist entertainment is created equal. And that some of it isn't even entertainment. Miss March is, to use the vernacular of the escapist moviegoer, the biggest pile of crap I've seen in ages.

[I]t's guilty of the very thing that makes kids hate history as a subject when it's taught badly: The Da Vinci Code makes the past feel like a dull, grainy, faraway thing, instead of something vibrant and alive.

This film Phantom takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat.

The bigger question to ask about 300 is why, for a supposedly rousing tale of heroism, it's so curiously unaffecting.