Nell Minow

For those who are open to its challenges, it is a meditation on time, loss, and connection, and almost a century later, those themes are just as vital as they were when Eliot wrote them.

Julia Louis-Dreyfus gives a performance of breathtaking vulnerability as the mother of a dying teenager in “Tuesday,” a film that tells the story of the most shattering loss of all without melodrama or a score filled with syrupy strings.

"Colorful" is not a colorful enough word to describe a fantasy movie musical so maximalist that even the title is overstuffed.

It draws us in with acutely observed details and relatable characters that portray universal conflicts, all with nuance and good humor.

A twist that brings together native myths and modern challenges is at first surprising and then surprisingly satisfying. We leave the film feeling like we've found some 'Ohana ourselves.

Hedges has a gift for bringing us into the lives of characters in even the briefest sketches with the strong support of an outstanding cast.

We cannot help wishing, as we do so often in watching what passes for news these days, that this story was told with more insight, context, and, well, focus.

The flashback scenes are not as compelling as they try to be. The Hopkins scenes are more engaging, not just because we look forward to the re-enactment of the television reveal, but because the film is sharper at addressing the existential issues of purpose and meaning than it is in showing us the difficulties in rescuing the children.

Stewart and Erskine light up the movie with vivid, layered, authentic performances that capture our interest but throw the movie out of balance. One more screenplay draft would have been worthwhile; there are glimmers of a better version that create some optimism for Angarano’s next film.

This movie shows us the teamwork, the dedication, the national pride, the astonishing vistas, and the reason that Purja and his team deserve to be as renowned as Sir Edmund Hillary, maybe more.

If they gave Oscars for bringing underwritten characters to life, Hathaway and Galitzine would be contenders.

The Sapphires is clearly a labor of love for all involved. It's also a warm tribute to four women for whom success as performers was just the beginning.

Watching the scientists research the mysteries of humpback whales is an inspiring tribute to the power of curiosity, purpose, and the triumphant joy of adding one more piece to the jigsaw puzzle of knowledge.

Mary Tyler Moore knew how to play confident, happy, honest women early in her career, and it is good to see how she finally learned how to be one.

There are two good reasons to watch “Better Nate Than Ever.” First, it is smart, fun, and funny, a great movie to share with the family. Second, becoming a Rueby Wood fan right now will make sure you will not miss a moment from a performer who is already a master of comedy, drama, singing, and dancing.

Touching on issues of identity, integrity, and grief, “Swan Song” never feels formulaic due to the complex, committed performances of its stars and the thoughtful exploration of the issues it raises.

Screenwriter Jim Beggarly deftly combines believable characters with a solid narrative structure.

Dog Man, based on Dav Pilkey’s popular series of graphic novels for kids, is sublimely silly, a mixture of comedy, action, and heart, all done with such high spirits it seems effortless.

For this team and their coach, the long game is about whatever it takes to play and get on track to a championship, even if that means smiling at insults and swallowing their pride when the competition cheats. Ultimately, though, it's not about golf but about dedication, resilience, and the joy of finding you can do better than your dreams.

Garcia and Estefan and all of our feelings about weddings bring so much warmth and good humor to the movie that it calls for a "yes" on the RSVP.

Audiences are likely to see this film as more resigned to the inevitability of permanent conflict than providing any insight in how to move away from it.

A tight, twisty script, meaningful stakes, a top director (Darren Aronofsky), and an A-plus cast have delivered a satisfyingly sharp thriller, “Caught Stealing.”

Enola Holmes (Millie Bobby Brown), the younger sister of Sherlock Holmes (Henry Cavill), returns in this cheeky, breezy sequel that's better than the original. The character has a better sense of who she is, and the movie spends less time on explaining, more time on action. The mystery at its center is inspired by a real-life event that is genuinely inspiring.

Director Haroula Rose, who co-wrote the film with Coburn Goss, gives it a leisurely, lived-in feeling. The actors, especially Baker, bring layers to the characters that hold our interest, earn our affection, and make us reconsider Tolstoy—there is more than one way to be a happy family.

Anthony is as good at upending expectations as he is at upending opponents on the mat. If this movie would rather meet our expectations, it does so with sincerity that makes it a slim win on points.

We can never quite settle into the connection to the couple because while it makes it indisputably clear, despite some claims of Photoshopping, that they really do scale the tallest and most iconic structures in the world, there is a discomfiting artificiality to the storytelling.

It is remarkable how often movies, which usually take years from the first word of the script to the opening date, can be uncannily timely.

Juan Pablo Di Pace’s movie about memory, longing, time, and family is like a set of Russian nesting Matryoshka dolls.