Brian Lowry

Prone to long, leisurely exchanges, and frequently darkly funny, Scorsese's narrative has an almost Zelig-like quality in terms of the notorious figures that passed through Frank's orbit. Pacino, meanwhile, is the explosive counterpoint to De Niro's clenched character, the real raging bull here.

What makes Marriage Story work, mostly, is the raw nature of the performances -- allowing the stars to flex different muscles than their respective blockbusters -- and the agonizing aspects of the two trying to shield their young son while losing contact with what made them love each other.

The writing and twists elevated this to a spot among the master of suspense's best. [15 Aug 2019]

The story's unrelenting nature works against it, blunting the lure of seeing Adam Sandler in one of his occasional dramatic performances -- a showy role, yes, but in a movie that proves all that glitters is not gold.

Those advocating for the movie as an Oscar contender might be overstating its merit, especially in a year with an abundance of options. But as a warm-hearted holiday release, Gerwig has created a "Little Women" for the 21st century, which, if history's any guide, will still be watched and compared to editions past and future not only through this century, but into the next.

Writer-director Christopher Nolan’s epic film essentially consists of three chapters, with the middle, Atlas-like, holding up the weaker, drawn-out beginning and end.

The result is a tense, documentary-style drama that methodically builds a sense of dread despite the preordained outcome.

There’s a difference between “long” and “epic,” although in movie terms the two frequently get confused. Martin Scorsese delivers the former but not the latter with Killers of the Flower Moon.

Minari is a deeply personal film, and quality that's evident in writer-director Lee Isaac Chung's reminiscence about his childhood. Focusing on a Korean immigrant family, the universal themes come through loud, clear and ultimately with considerable power, even if the movie's languid pace works against it.

A small, melancholy movie that explores cultural differences and dealing with death in an utterly charming, understated manner.

“Uncut Gems” gets a spiritual sequel.

The Power of the Dog is such a delicately constructed movie as to almost defy the ability to review it without saying too much. Keeping the audience off balance, writer-director Jane Campion creates a slow, ominous build around the fine performances toward a satisfying conclusion that nicely pays off on the slow-canter ride.

Granted, nothing can fully replicate the unique qualities of a live theatrical experience. But if anyone doubts that Hamilton can still deliver a Broadway wallop to the comfort of one's couch, well, just you wait.

The Father isn't a picnic to watch, but it is -- somewhat ironically, given Anthony's condition -- a movie, and performance, that's hard to forget.

The film, while technically superb, feels like it wins several battles but doesn’t entirely qualify as a success in terms of the overall war.

Chadwick Boseman's tragic death will draw understandable attention to Ma Rainey's Black Bottom, which represents his final role. Yet that focus shouldn't overshadow the riveting performances that elevate this small-scale Netflix movie, adapted from the August Wilson play with its somewhat claustrophobic stage origins very much intact.

A bit slow-moving at first, the history gives way to a thoughtful conversation about how best to remember this history and honor its victims, while simultaneously highlighting the modern science surrounding identifying the ship and, thanks to DNA, potentially linking its captives to their descendants.

Nomadland is a meticulously crafted little movie, anchored by a star at the top of her game. Yet it's possible to enjoy the film on that level and still come away feeling if the film makes much noise in the awards hunt, it's a sign that this was a relatively weak year.

Spanning decades, the film version of the Broadway stage production improves in key respects on the Oscar-nominated original movie, with a spiritual message that should resonate through the holidays.

While the movie remains a dazzling experience in terms of what the animation achieves, it indulges in what feels like sensory overload, seeking emotional heft in ways that slow down the action. The movie also falls victim, somewhat, to the blessings and curses associated with the multiverse, which offers infinite possibilities but also the occasional sense that there are so many permutations none of them matter all that much.

Best in its small moments, the movie should find receptive gal pals congregating for the mother of all viewing parties.

Floridly beautiful, shamelessly derivative and infused with an irreverent, sophisticated comic flair thanks to Robin Williams' vocal calisthenics, Aladdin probably won't equal its beastly predecessor but should still enjoy a magic carpet ride through the holiday season.

It's a nuanced, thought-provoking documentary.

The film is alternately funny and heartwarming, but more than anything, eye opening, covering a chapter at best underreported in history books, if not outright overlooked.

The Green Knight's sheer originality makes the film worth considering for anyone with a taste for such material.

The new West Side Story doesn't entirely answer the most obvious question, which is why essentially remake a 60-year-old classic. Director Steven Spielberg nevertheless justifies the effort as a dazzling showcase for this generation's talent, in a film whose ties to lyricist Stephen Sondheim, who died last month, adds to its emotional resonance.

As much as the movie appears to yearn to jump-start the franchise, it seems to have forgotten to bother with a coherent script, leaving one to wonder how a film with this much action somehow manages to be so boring.

Hall captures how the two women chafe against the system and its limitations in different ways, and shoots the film with a haunting, almost hypnotic quality. That atmosphere, in a sense, is stronger than the story, but it's more than enough to make Passing a movie that shouldn't be passed by.