Could've been an indigestible mash-up of sci-fi and western. The result is entertaining and often thrilling. Interesting characters, cool alien concepts. Nothing too new, though.

Top-notch gritty cinematography.

Harsh naturalism, resonant silences, intense passions. Powerful.

Often vulgar, never refined, always entertaining, sometimes moving, impeccably acted by Meryl Streep.

Michael Wincott is such a scene-stealer.

Incredibly perceptive of even the slightest emotional shift in any given character.

It's like Jaws, but instead of the sea, it's the snowy landscape, and instead of Bruce, it's wolves.

Detached to the limit.

A masterpiece in terms of lensing, music and production design. At times, it is downright magical thanks to its sweeping vistas and magnificent colors. But many of its 183 minutes are not strictly necessary, thus making it seem rather bloated, overlong and less exciting than it is.

The perfect example of a truly thought-provoking film.

Lavish, beautiful, brilliantly acted.

Human sentiment at its purest and most powerful. One of the great unsung masterpieces of the past.

Heavenly color lensing by the great Winton C. Hoch.

Carnival-esque.

For the family.

Truly strong and tragic.

Baker and Wallach are terrific.

Thanks to Doris and James the film never becomes a sappy bore.

Gently powerful, subtly resonant.

A surprisingly brutal, unsentimental look at frail personalities, conflicted marriages, alcoholism and responsibility. The fiery performances by Crosby and Kelly are utterly devoid of narcisism. Sadly, now it seems people take all those qualities for granted in this difficult American classic.

Are we supposed to empathize with this born loser, a dellusional, mentally unstable man that blames all his misfortunes on "the system" instead of his own weaknesses? He is a victim, yes, of himself and no one else. As the portrait of a lunatic, this movie might have some value; as the indictment of the so-called American Dream, it is confused, confusing and ultimately pointless.

So visually spare and adamantly anti-sentimental it could've ended up uninvolving or alienting. Alas, you can't take your eyes off it for a second.

Amazing, rich visuals; not so sure about the drama.

A dead movie.

An underrated Polanski gem. A performance for the ages by Peter Coyote. I didn't know he had that in him.

The only gifts in this rather lame movie are Cate and Giovanni.

Better production values, a better and more interesting actor to play Mikael, Lisbeth is more flshed-out. But the suspense is lacking and frankly, it should've been an entire universe of distance between the original and this one in terms of quality. After all, Fincher directed this. But both movies are 'just' good, and nothing more.

Had Dean Cundey been nominated for Best Cinematography, it wouldn't have been unfair.

One could - should - make the case for Penélope Cruz being a genius. "Gee-nee-us".

A tiresome and overlong mess, conceptually redundant and way too noisy. But when Snyder hits the right notes, the film soars.