Marjorie Baumgarten

Drawn from the true adventures of the Washington Post reporters and their illustrious editor Ben Bradlee, the movie heroically recounts the dogged journalistic sleuthing that cracked the story of the Watergate break-in and cover-up.

This is the way this ground-breaking monument was meant to be seen: in mind-boggling 70mm.

Haneke (Caché) has created a morality tale that concludes with the assassination of Archduke Ferdinand: one more example of a solitary act of violence that unleashes a cataclysm.

As good as it ever was, and improved slightly by hindsight, experience, and extra cash.

The film aims to be a cautionary tale, but it doesn’t seem that the filmmakers have absorbed the lesson.

Dry, ironic humor is also one of the primary ingredients of The Other Side of Hope, and one of Kaurismäki’s signature elements.

Maddeningly, A Ghost Story can seem more like a creative exercise than a fully formed narrative construct.

Raimunda believes that dirty linen should be washed at home: Thank goodness Almodóvar hangs some of it up on the screen to dry.

At every turn, corruption oozes from the pores of this thriller, and although the film’s tone keeps us on edge, Widows also hits a few perfunctory pits in the road.

An absorbing, delightful, and nuanced movie with laugh-out-loud humor, and though it often plays events broadly where you might have preferred subtlety, it's not a movie that could have settled for muffled silence.

Director James Cameron and producer Gale Anne Hurd (both of whom co-wrote the script) demonstrate their storytelling virtuosity.

Tennessee Williams’ study of a crumbling Southern patriarchy is riveting stuff. Although the word homosexuality is never uttered, this Hollywood reworking brings a certain understanding of the son’s latent “immaturity” and his wife’s childlessness. Bolstered by extraordinary performances, this tale’s a summer sizzler.

No background material is going to help the viewer who isn't already aware of why a Fugees reunion is such a cool thing to witness, but it's impossible not to get caught up in this party's good vibe.

Maleonn somehow finds an anchor of optimism amidst the situation, despite his father’s steady memory decline. That, too, is part of this film’s gift.

In so many ways, The Quiet American speaks volumes.

Arthur overextends its welcome and relies too much on prop comedy.

The Cove exposes the dark secrets that underpin the world’s dolphin mania, whether it’s our enjoyment of the animals performing circus tricks in aquariums, the swimming-with-dolphins industry, or the government recruitment of the sea mammals’ intelligence, communication, and sonar abilities for military applications.

Wonderful performances anchor this biopic of country star Loretta Lynn's rise to fame. In a time before the TV music channels made star biographies into such a formulaic joke, Coal Miner's Daughter was the real deal.

Together's portrait of its social moment is right-on.

It's a movie perfectly designed for tossing back popcorn (the jumbo kind so you don't have to leave your seat during the show); not until later do you get the empty feeling that you've swallowed an entire bucket of popped air.

Since so many of De Palma’s films have become part and parcel with the American cultural consciousness of the last 50 years, I can’t imagine this filmmaker’s insights not providing every viewer with some memorable takeaways.

This Romeo & Juliet is a rich visual feast, besotted with the fervor of its acrobatic camerawork and kinetic staging and its mind-bending aggregation of unrelated but resonant fragments of 20th-century iconography.

Probably the ultimate writers' film, but it's also a brash, daring, and dynamic film -- as delicate as an orchid but as durable and malleable as the species.

[A] prescient and sharply drawn comedy about the depths to which one unscrupulous station will sink.

The on-target performances, along with the unceasing barrage of popular music and daring narrative gambles, combine to make Trainspotting one of the grand movie rushes of 1996.

This film is more a love story about the marriage between Hitchcock (Anthony Hopkins) and his wife, Alma Reville (Helen Mirren), rather than a historically accurate backstage look at the making of this important movie in the Hitchcock filmography and the American psyche.

This one misses the boat by several nautical miles.

Last Chance Harvey is so much an "actors' film" that the hand of the director seems hidden until it bursts into view with something clunky.