Glenn Kenny

As an arraignment of the systems that ultimately rule human interaction regardless of the superficial societal differences between Europe, the Americas, and the East, A Hero is a chilling demonstration of how, as the song says, money changes everything.

The point of it all being that history and poetry are not possible without personified antimonies, real or imagined. Neruda does not make this point in any particularly convincing way, despite excellent performances by Luis Gnecco as the title character, a stolid Gael Garcia Bernal as his pursuer, and Mercedes Morán as Delia.

Make no mistake: this is a horror film; as you stare at the screen, the abyss it represents stares back at you.

While the movie steers around the details of how post-fame Sacks became something of a brand, it beautifully presents a portrait of his compassion and bravery.

The film’s success is directly dependent on the personalities — and achievements — of the young women highlighted. Despite the narrative gaps, Ms. Lipitz excels at putting across those personalities.

It's churlish, especially these days, to try to split the difference between an immortal comedy classic and a mere laugh riot.

The movie balances amiable humor and standard believe-in-yourself bromides with better than average action sequences.

A rather fun Nick Cave movie might not have been on your 2022 bingo card, but here we are.

If a woman had not in fact certifiably written the picture, I might have thought that Lester Bangs had come back from the dead to pen an account of the teen years of his ideal mate.

There’s such a disconcerting rush of lush imagery and action in the first 40 minutes or so of “Invisible Life” that one is apt to wonder whether there’s any kind of focused narrative. But the casual misdirection is setting the viewer up for an emotional kill.

Though the movie is predictable, it's also honest; Fin emerges from his struggles a better person but not A Better Person, if you catch my drift. And in any case all of the actors are a great pleasure to watch.

[A] cogent, fascinating portrait of the artist.

The story is not without interest, and it touches on a couple of worthwhile themes: cultural erasure and the way religious and provincial prejudices can suppress love. But its treatment of these subjects is perhaps undercut by its conventionality.

Despite Brosnan's best efforts, this is a movie with its heart in the right place and its head somewhere substantially other.

The movie raises disquieting questions, including a few that Mr. Mansky might not have meant to.

With its frequent dramatizations, zippy editing, and song-driven soundtrack, Three Identical Strangers may be said to indulge in the most potentially egregious of mainstreaming devices used in contemporary documentaries. Yet because the story itself is so, well, juicy, and the subjects one-time pop culture phenoms, the approach feels acceptable if not entirely “right.”

You may believe you know Turner’s tale. And you may be right. It is retold well here, but the most moving portions — and they could bring tears to your eyes — come as Turner, almost 80 at the time of this interview (and as beautiful as she has ever been), wearing a tailored black suit, sits and discusses where she’s at now.

A Man Called Otto is not only more bloated than the Swedish film, it’s more outré, in a way that’s hard to pin down.

The film spaces out several nasty and effective frights. And as its narrative seems to deliberately devolve into a dissociative dream, even the funny material hits with a choke in the throat.

Deeply nuts and exhaustingly hilarious.

The movie is a fascinating portrait that is if anything too brief.

It really is quite a movie: entertaining and engaging, but also mortifying; a good alternate title might be "American Horror Story."

I was so invested with Jong-gu and his family that as the suspense, violence and worse ratcheted up, I was not merely scared, but heartbroken. An overly literal bit of business at the end slightly undermines the film. As a whole, though, The Wailing is the hard stuff. Handle with care.

A martial-arts movie landmark, as strong in its performances as it is spectacularly novel in its violence.

This is a fascinating and pertinent tale, but one major aspect of its telling gives me serious pause.

This Hairspray really is a lot of fun -- colorful, sassy, and brisk.

I say this as someone for whom the very idea of a Kong remake is sacrilege, Jackson's straitened conception yields up a pretty damn good popcorn movie.

The result is an emotionally wringing film, equally effective in the narrative and tone-poem departments.