Structural difficulties, failed attempts at levity and below-par action sequences would be bad enough, but sadly From Paris with Love also has a noticeably sexist undercurrent to its detriment, giving what would normally have simply been a bland meal a genuinely unpleasant aftertaste.

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According to the script, God has lost faith in humanity, ostensibly because he grew “tired of all the BS.” Thus He orders the angels to exterminate mankind—just to switch it up a bit, since last time He went with a flood. The angel Michael (Paul Bettany) disagrees with God’s order and falls from heaven to save the human race. Michael chooses a tiny town called Paradise Falls (a clever but gauche touch of Dante), at the edge of the Mojave desert, in which to prove that humans are worth saving.

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The novel opens with a striking, abrupt proclamation: “My name is Salmon, like the fish; first name, Susie. I was fourteen when I was murdered on December 6, 1973.” After her murder, Susie watches from the Inbetween, a kind of non-Christian purgatory, as her family struggles with her death. Jackson, whose visionary filmmaking has earned him massive acclaim in the past, creates a heaven of brilliant, surreal landscapes in which Susie and her fellow dead frolic.

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Wong Kar-wai’s beautiful tone poem is an ode to unrequited and impossible love. Its brilliant color scheme, gorgeous costumes, unforgettable cinematography, and heart-wrenching violin score harmonize to create a film that seethes with romance, melancholy, and the allure of the impossible.

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At the end, she’s back at square one leading the student life, but inside, she’s grown exponentially. Life is cruel, life is not fair but life truly is beautiful. One of the best coming of age films of all time.

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Marshall apparently strove for the early 60s New Wave Cinema feel, which relied heavily on shaky camerawork and frenetic editing—except during musical numbers, which are proscribed so heavily as to be cloying. As the filmmakers strove to pay homage to 1960s Italian cinema, they lost the meaning behind the art, leaving a messy result.

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Ritchie, whose previous films Lock, Stock and Two Smoking Barrels and Snatch are cult favorites, brings a violent and adventuresome sensibility to the often sedate Holmes. Conan Doyle’s legend left behind a mental image, compounded by pop culture, of a rather mellow English gentleman in a deerstalker hat, puffing on a pipe and wandering about a crime scene with avidly shining eyes. Ritchie’s version of Holmes, played impeccably by Robert Downey, Jr., is these things but also much more: a bare-knuckle boxer, a martial artist, a loyal friend, and an occasional lover of women.

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The story and script fail to create multifaceted characters, sticking instead to the inherent malevolence of military invasion and corporate America’s insatiable appetite for resources and money. In our current time of war and economic instability, these are significant social issues, but the film handles them ham-handedly, pitting stock characters against one another in an epic moral (and physical) battle between conservation and greed.

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Cinderella and Snow White are famously hardworking Disney princesses, but they were enslaved as a punishment for their beauty (notably by jealous older women), and their stories culminate in finding Prince Charming. Tiana’s work ethic comes from her desire to be independent and build her own destiny—wonderful traits to offer today’s little girls.

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Based on Christopher Isherwood’s novel, the film is set in the 1960s and takes place over the course of one day. It follows George (Firth), a gay professor who decides he can no longer continue living with the heartbreak of having tragically lost his longtime partner (Matthew Goode). In what is his last day on Earth, George spends it tying up loose ends without letting anyone know his real plan.

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