James Berardinelli

For those who have the patience to become absorbed in this kind of drama, Vera Drake offers a stunningly real character portrait whose image will linger long after the movie has faded.

When movies address fertility problems – something they rarely do in the first place – it’s usually with something less than the honesty on display in Private Life.

BlacKkKlansman comes across as equally entertaining and disturbing, which is most likely what Lee intended.

Although The Phantom is more often enjoyable than not, it lacks that special characteristic necessary to provide it with a unique identity. Arriving in the midst of so many "can't miss" offerings, I expect it to sink like a rock, moving quickly to "dollar theaters" then to video. I'd like to be able to champion this film, but the truth is that I'm tiring of the genre as a whole, and, while The Phantom opts for a different tone than most of its brethren, it's still not an especially memorable motion picture. This is the kind of movie that offers modest entertainment while you're in the theater, but is forgotten by the time you get home.

Although not without its merits, it’s far from a standout even when one considers how lackluster the current indie/art house landscape has become.

It's as existential as a sci-fi/horror film can possibly be. It requires that the viewer slip into a meditative mood and remain there for more than 90 minutes.

Although prone to occasional sermonizing, The Post offers a stirring reminder of the importance of these kinds of unsung heroes in protecting the American way of life.

A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.

Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.

Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.

The Sting represents one of the most popular, widely-loved films to win Best Picture in the last half-century and an example of grand entertainment.

Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.

The compelling reason to see it in a multiplex, however, isn’t so much the advantage of a larger screen as it is the absence of commercial breaks. The full impact of the movie relies on the gradual building of momentum and any kind of interruption could break the spell.

The Boy in the Striped Pajamas should be heartbreaking, but it isn't. The muted quality of its impact is the result of narrative shortcuts and a desire to keep the images from being too startling.

While Palm Springs doesn’t stray too far from the idea introduced by "Groundhog Day," it’s the first derivative film to be more deserving of a commendation than derision. Or, to put another way, it feels more like an homage than a rip-off.

It Follows doesn't try to get viewers to jump out of their seats. Instead, employing the time-honored technique of the "slow build", it pressures fingernails to dig into arm rests.

In the end, the real problem with the Demon Barber of Fleet Street is that he's not as bloody fun as he should be.

Boring and uninspired, this movie gives ghost stories a bad name.

The real wreckage in Locke is to the main character's old life, and the manner in which it is depicted makes this one of the year's most intriguing motion pictures.

As a family film, Fly Away Home has something for members of every temperament and age group: adventure, pathos, technical detail about the design of the aircraft, cute animals, and human drama.

In his long and distinguished career, only his Oscar-winning performance in 1983's “Tender Mercies” was this raw. Duvall becomes Sonny. The energy and passion of a preacher are all present.

The movie does everything LARGE, whether it’s an action sequence or an emotional connection. By the time the 3-hour running time has expired, most viewers will be exhausted from the nonstop energy of the experience.

Election has the sharpest satire of any teen movie made in years. Like the best lampoons, it attacks by exaggerating reality ever-so-slightly and targeting a broad range of subjects.

Coogler provides enough rousing moments to get the adrenaline pumping - there are times when the urge to jump up and cheer is almost too strong to resist. But there's more to Creed and it is elevated by the quiet, subtle elements.

Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.

The story is unfocused and the character development is virtually nonexistent.

Marry Me isn’t good enough to transcend the limitations of the genre but it’s a passably enjoyable throwback to the heyday of rom-coms.

Draws its audience along a rarely-traveled path whose scope can only be fully appreciated in the silence of the aftermath.