Melissa Anderson

Though Crawford's bangs and facial hair are the most art-directed aspect of the movie, he's costumed to look like a member of the Trenchcoat Mafia (Madison Avenue branch).

The Art of the Steal's thorough research, bolstered by many fiery talking heads, makes it one of the most successful advocacy docs in recent years and may prompt some firsthand investigating of your own.

Beyond fans of Mélanie Laurent--who furiously fingers a fiddle and wears flashback wigs--The Concert may appeal to those who delight in stereotypes.

Thankfully, Peddle's film is much more illuminating than a grad school seminar.

Not to detract from the pleasure of watching the consistently excellent actors, who enhance the dialogue's bite with their body language, but the script of In the Loop is so rich that it could work as a radio play.

Above all, it will make you long for a day when studio movies about relationships feel like they are by and for adults who have actually been in one.

Though calling out the abominable oppression of women, even in a vehicle as didactic as Bliss, serves at least some redeemable purpose.

The film tries--and fails--to swing both ways, nostalgically glorifying its subject only to smugly revel in Levenson's ignominious demise.

The dread and unease that suffuse the film — never has the peal of a rotary phone sounded more terrifying — seem rooted partly in anxiety over second-wave feminism, the cresting of which nearly coincided with the release of this movie, one that centers on its heroine’s profound ambivalence about growing emotionally attached to a man.