Calvin Wilson

In an Arnold film, plot is pretty much beside the point. Instead, she focuses on the subtleties of character — and her insights can be both enlightening and terrifying.

Stone isn't for everyone. But for all its shortcomings, it is courageously original.

Working from her own screenplay, director Robin Swicord (“The Jane Austen Book Club”) delivers a film that balances wry humor and sly introspection.

If you’re looking for a film that’s just about guaranteed to make you feel good, you’d be well advised to drop by Daddy’s Home.

Cinema often shines a light on stories that might have been lost to history, and that’s certainly true of A United Kingdom.

A comic-book flick that’s as thrilling and enthralling as it is pretentious and preposterous. The story is just an excuse for the action sequences, and the Marvel strategy remains intact: When in doubt, blow stuff up.

Although Ready Player One is nowhere near as memorable as “Jaws” or “Close Encounters of the Third Kind,” it demonstrates that the director is fully capable of adapting to the times. What the film lacks in substance, it makes up for in style.

An ideal showcase for Tomlin, who brings to the film a winning blend of contrariness and effervescence.

This film might easily have settled for mocking religion. Instead, it's a fascinating glimpse into a culture that forces some people to choose between fitting in and opting out.

Offers an inside look at Iran in all its cultural complexity.

Unfortunately, Garcia can't quite resist sentimentality, giving us an ending that's a bit too emotionally neat. Still, Mother and Child is a thoughtful and provocative film about the way we live now.

Seth Rogen is the Green Hornet. What else do you need to know?

Fences is perhaps best appreciated as a showcase for the brilliant acting of Washington and Davis.

Based on a true story, Crown Heights is a predictable but moving story of friendship and perseverance. Writer-director Matt Ruskin elicits strong performances that go a long way toward compensating for the film’s often languid pace.

The Tree might have suffered from too much symbolism if not for writer-director Julie Bertuccelli's deft touch and Gainsbourg's appealing performance.

Whereas "Chill" attempted to define a generation, "Lies" is more of a statement about the nature and limits of friendship.

Some moviegoers will find the experience frustrating; others will be exhilarated by a film that’s far afield from the usual formulas.

Denham impressively captures Peter's flintiness, rendering him sympathetic yet not quite likable, and Vicius is just right as the wary Lorna.

In the early scenes, Cambridge brilliantly conveys Gerber's obnoxiousness while making him sympathetic. Later, Cambridge imbues the character with a blend of outrage and pride that's breathtaking. [31 Jul 2008, p.8]

Timed for the Halloween season, Ouija: Origin of Evil should have horror fans clutching their seats.

As a documentary, “Eat That Question” is kind of raggedy. But a more polished film might not have been in keeping with Zappa’s anarchic spirit.

As a man committed to reinventing himself, Damon is terrific. And Johansson brings to Kelly just the right blend of spunkiness and hard-won maturity.

Pine brings a measured but engaging heroism to Kirk. Quinto is perfect as the logical but charismatic Spock. Urban lends the proceedings a much appreciated dose of humor. And even with his famously expressive face obscured by makeup, Elba elevates Krall to something more than a cardboard villain.

Annie is not a great movie musical — but it’s a fun time at the movies.

Although the film is frequently brilliant, it’s not quite as clever as it thinks it is. The cast, however, is terrific. Particularly good is Buscemi, who’s engagingly cranky as Khrushchev.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

Although Branagh delivers a film that’s reasonably watchable, the not-so-mysterious truth is that Murder on the Orient Express didn’t need to be remade.

A sophisticated comedy about New Yorkers who might easily be mistaken for characters in a Woody Allen movie.