Kimberley Jones

Just because Pavements is a prankish film about a prankish band doesn't make it any less deeply heartfelt. It’s one for the fans – and we are legion.

The leads’ prolonged, puffed-feathers sparring is entertaining while it lasts, but the sensation of something sizable is only fleeting.

White couldn't stay away, and neither can the band's legions of fans, who bop up and down in sold-out arenas at the reunion tour that provides the film's hopeful coda.

The film stumbles a bit in its third act, when war kills the good times for good.

Twenty-four years ago, the original Toy Story broke ground as the first-ever entirely computer animated feature film. What’s more astonishing now is how all those ones and zeroes are harnessed to produce something so utterly lifelike.

July sees the world in a most unexpected way, and it's a shame that Me and You's preciousness sometimes overwhelms that uniqueness of vision.

Parker has cast credible young versions of all the original players, although in most cases vintage outperforms new grape.

It closes the film in what I suspect was intended as something of a happy ending, but it’s unnecessary: Thirty happy years should be happy ending enough.

As a portrait of what happens to a family when its glue disappears, Extremely Loud and Incredibly Close wrung a bucket of tears out of me.

More often than not The Heat is just stupid-funny, which circles us back to McCarthy, motor-mouthing four-letter fury like an operatic aria. She sells Mullins as delightfully unhinged and fairly radiating with rage, and it’s irresistible.

There are no life lessons here, only an uncommonly focused look at one life – the sometimes joyful, sometimes punishing day-to-day existence of a young man whose future is more uncertain that most.

Never achieves the satisfaction of a real crackerjack con movie.

This is a visually stunning picture, a rhapsody of saturated color and contrasting texture, from the painstaking detail of coarse panda fur to the painterly dreamscape that is the spirit world.

The Way never arrives anywhere you couldn't see coming a mile away, but it does so with such empathy that its conclusions feel comforting rather than overly predictable.

Shannon is monstrously good – unpredictable where the other actors are clipped and careful – and he steals the whole picture in two short, shattering scenes. When Shannon exits the film, the air gets sucked out again, and you realize the pretty artifice extends to more than just the Wheelers.

Graham’s film teems with fascinating characters – ultimately, too many for the abbreviated running time.

Somm doesn’t try to write the book on wine connoisseurship, but it does give good CliffsNotes.

It’s smart enough to gesture at current-day concerns – most especially in the dangers of a flexible relationship to truth – but not incisive or insightful enough to land a punch.

If anything, The Invention of Lying is too soft for the satirical promise of its premise.

Hedlund's got a hell of a voice, rotgut-ragged, and whether he's crooning or wooing, whatever he's selling, and no matter how cornpone, I'm buying.

Slight but agreeable picture.

The title seems engineered to ride the tailwind of a Liane Moriarty suspense, but constitutionally, Wicked Little Letters is more of a cozy British mystery goosed with eye-popping profanity.

Just as marriage does not banish aloneness, proximity to the characters onscreen doesn't unlock any special connection to them.

Teenage is an art film – an engrossing one at that – so it isn’t required to respect Queensberry rules vis-à-vis documentaries.

Understandably, a filmmaker tackling the retelling of a national hero must do so with great delicacy, but The Sea Inside presents not so much a hero as a saint in Sampredo.

But by the time this imperfect little film wends its way to one of the most winning exit lines I've heard in a long time, it's turned into something, well, perfectly lovely.

The Wedding Banquet, Ang Lee’s’ 1993 breakout feature, is actually an inspired vehicle to revisit.

The actresses are so quick and so supple, the force of their individual personalities and their irresistible camaraderie hoik the film up from its middling story and scripted jokes. I would have happily stayed in my seat another two hours to continue keeping their company. Just in a better movie.