Kyle Smith

The direct, intimate way in which the movie is filmed and acted, however, makes it an affecting study of two people’s attempts to forge some kind of relationship despite huge psychic damage on both sides.

Any movie that finds a plausible reason to give Lindsay Lohan a nun's habit and a machine gun is worth your attention.

War was both cruel and magnificent, as Churchill once put it. To Gibson, it still is.

Grunting and boarlike, Gérard Depardieu supplies a one-note rendition of Dominique Strauss-Kahn in Abel Ferrara’s peculiarly unilluminating Welcome to New York.

What’s the difference between “21 Jump Street” and 22 Jump Street? Same as the difference between getting a 21 and a 22 at blackjack.

To keep this one-man show visually engaging, director Sophie Fiennes places the professor in sets and costumes from the movies, talking about “Full Metal Jacket” from atop a barracks toilet and “Brief Encounter” from a 1940s British train.

Initially, this low-budget film writes a lot of checks on the First National Bank of Whimsy, but I was astonished when none of them bounced.

The hopelessly dated 1968 play "The Boys in the Band" yields a surprisingly sprightly and multifaceted documentary, Making the Boys.

Blunt, brassy and chatty, she makes for a refreshingly open host of her own life story.

The Girl With the Dragon Tattoo is, as you'd expect, rubbish, but the word is slightly too kind. The David Fincher film (like the very similar Swedish one - released in the US just last year! - and the book) is not even good rubbish.

In an odd way, Predator: Badlands is a date-night movie posing as merely a sci-fi killing jamboree. All of those lovable lummoxes out there with their hyper-verbal lady friends will learn a little about cooperation.

Despite the underlying wretchedness, though, the characters exude a sense of having so little interior life that none of this, or anything else, fazes them. That’s disturbing, too.

Lately, the Shakespeare plays on film tend to be either too self-consciously irreverent on the one hand or too stodgy on the other; Kurzel’s Macbeth takes a point of view without betraying the Bard.

A cheap exploitation picture wrapped in miles and miles of stale would-be Oscar scenes.

It'll be a real miracle if anyone manages to stay awake throughout this extravagantly dull film.

Apart from its thin characters and occasional trite moments, as well as a silly attempt to set up a sequel, Don’t Breathe is just about perfect. It’s as lean and relentless as the best John Carpenter films.

Can a series of irritating events make a movie? Yes, but an irritating one: Alexander and the Terrible, Horrible, No Good, Very Bad Day.

The film is occasionally heavy-handed, and the priest character is almost absurdly saintly, but there is an awful power to scenes such as one in which the Europeans are evacuated on trucks.

Although it has affecting moments, the film can't quite decide whether it's about aging or about the effects of war on the home front.

On the one hand, Black Book has the artiness of subtitles, the dramatic weight of history, and the desperate heroics of Jews hiding from Nazis. On the other hand, it has Paul Verhoeven.

Mr. McQueen seems consciously to be shedding his past style—the icy minimalism of “Hunger” and “Shame” and the scarifying gauntlet of his Oscar-winning “Twelve Years a Slave”—in a bid to make a big, warm-hearted, conventional holiday-season tear-jerker. Yet the film . . . will strike many viewers as a bait-and-switch exercise.

It’s a film about tableaus and texture that strives, largely successfully, to re-create the experience of being an extremely small part of a vast, historic conflagration. In effect, it’s an anti-spaghetti western, eschewing all things grandiose and bold-faced in favor of the small and prosaic.

It’s as if a ruthless gang of Richie Cunninghams terrorized the Fonzies of the world.

The dystopian sci-fi drama Vesper is a gallery of astounding images set in a weirdly enticing future. The new world it depicts is both primitive and advanced, full of richly detailed flora and fauna representing strange new species that came about after mankind experimented heavily with genetic engineering as society crumbled to dust.

The movie is an entertaining stroll through a colorful gallery of characters including, in villain mode, former Metropolitan Museum of Art director Thomas Hoving. "She knows nothing. I am an expert," huffs Hoving, who is so nasty he might as well be wearing a monocle - making Horton that much more fun to root for.

This exhilarating brain-twister is a nonstop visual, aural and intellectual delight, steeped in movie conventions and yet fizzing with freshness. It’s what happens when film noir goes out to a rave.

By the end, we wind up pretty much where we were four years ago when the pictures first appeared in the papers: Inexperienced troops did disgusting things, but it's a mystery who else knew.

Watching this movie is like listening to Michael Jackson tell you what real men are like.