Carla Meyer

Buscemi is characteristically likable here, when Del, mercenary in his treatment of human and beast, should not be so likable. Such is the curse of Buscemi, the delightful killer from “Fargo.”

There’s authenticity in the coach’s belted khaki shorts and in the anguish Hunt brings to a moment where the coach no longer can bear being at her star player’s wake. This moment is the film’s most moving until images of the real coach, and real Caroline Found, accompany the credits.

Foxtrot troubles and fascinates as it shifts from a portrait of grief to one of pathology, and captivates after it shifts again, into a visually driven, borderline absurd look at military life.

That story proves paper thin, and requires believing Amanda is devoid of empathy yet devoted to Lily — concepts too at odds to be plausible together.

With The 15:17 to Paris, director Clint Eastwood overwhelms the extraordinary with the mundane, turning the true story of three Americans who helped subdue a gunman aboard a European train into a tedious film.

The only clear message to emerge here is that Kruger is a world-class talent.

Hawkins, Bonneville and voice actor Ben Whishaw — who makes Paddington sound like the Geico gecko minus the attitude — give the film a strong base of kindness.

Wilson and Helms favor Bradshaw in likability. But they are not two hours’ worth of likable, in a film this flawed.

The film’s best moments show the characters bonding as teens, “Breakfast Club”-style, within their new bodies.

There’s real artistry to Ferdinand.

Here is more ambiguity, in a film that needs less of it.

The story’s eventual move into brutality is all the more devastating because of well-observed intimacy that preceded it.

Jane is lopsided, thoroughly exploring her early career but encapsulating later decades too neatly.

This brand of eccentricity does not suit Cusack. He lacks Cage’s manic gleam and irrepressible sense of play. Cusack comes off as glum and a bit lost, negating Miller’s effectiveness as bogeyman.

You also cannot help but think about what Baumbach has that Allen lacks: Empathy for his characters. Not insight into them, but empathy for them.

Hyper-violent yet emotionally powerful.

Chilling, superbly acted.

Leoni is a very attractive woman, and she should be credited for giving a brave performance, but her character starts to produce involuntary shudders when she appears onscreen.

Lacks even mild drama.

Unlike Arnold Schwarzenegger, however, Vin Diesel shows no discernible comedic skills.

Enlivens the classic premise of innocent-in-the-city by moving its archetypal characters in unexpected directions.

Muniz, however, is hampered by Stripes' constant moping, which brings out the "Malcolm in the Middle'' star's whinier tendencies.

Tilda Swinton's rich, compelling performance is reason enough to see this uneven picture, which devolves from a riveting romantic triangle to a morality tale without a moral center.

The freshest thing about Breakin' All the Rules is its dropped "g.''

Cloying mix of screwball comedy and drama.

It's really just old- fashioned melodrama, dressed up with lustrous cinematography and a few nods to history.

A one-woman show.

Superb.