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.

Four brilliant, accomplished, gorgeous female actors play four friends who take a bachelorette trip to Italy in this dumb, dull, dud of a waste of their time and ours.

This one has familiar beats but appealing performers, better dialogue, and more depth of character than many more formulaic movie romances.

As in Almodóvar’s films, the heightened use of color and settings is stunning, and the filmmakers are not afraid to express passionate emotion. That creates movie magic.

Lasse Hallström’s greatest strength as a director is deep humanity, with compassion for even the most flawed characters. The affection from all three family members for af Klint and for creating art shines through the film.

It is delicately told, sweet but never sugary.

Some sharp dialogue and Freeman and Pugh's committed and insightful performances hold it together.

It was and still is a pleasure to see a film that gives actresses characters and storylines that do not reflect or depend on the men in their lives.

Stories for children often emphasize courage or teamwork, being yourself, following dreams, or the importance of friends and family. What The Magician’s Elephant adds to that is something rare in films for any age: how to think through problems.

The movie does not live up to the eternally enchanting music, but it serves as an enjoyable delivery system for experiencing it again, which is magic enough.

The scenes under water are exquisitely beautiful, but it is the screenplay that feels soggy.

Jesus Revolution is more of a wistful wish to bring in a wave of new followers than an effort to understand what they'll need once they’re there.

Most Holocaust dramas show us the trains, the barbed wire, and the starving prisoners. This movie shows us what happened before, making the story real by making us identify with the people who were lost.

We know what the Hallmark Movie Channel version of this story would be. But Brie and her co-screenwriter, husband, and director Dave Franco like to subvert those conventions, as Brie did as co-writer for last year's "Spin Me Round."

One can sit back, relax, and enjoy 80 for Brady, understanding that nothing here makes sense in terms like “might happen” or even “should happen.” Just as all fairy tales should, this movie lives in the land of “wouldn’t it be wonderful.”

Entries in this genre like “The Same Storm” and “Together” made us care about the characters who were isolated or stuck with each other because of COVID. “Life Upside Down” never does.

After Love is not an accurate description. Love does not end in this story any more than the anguish of loss. Instead, it is about characters who find that a broken heart is open to empathy and learn to recognize that what connects us is so much more than what divides us.

As aww-inspiring as the human and dog moments in the movie are, it is the human encounters along the search that are the heart of the film.

The sumptuous settings, elegiac tone, and Krieps' layered performance bring us into the world of this woman caught between the expectations of her culture and her own desires.

What interactions are “real” and what is imagined or symbolic is left to us to sort through, or just to decide it does not matter. Each moment is presented to us with vibrance and wit.

This is a movie that observes Sharpton; it does not try to explain him or measure his impact. Those who are not already aware of his history may find it superficial or confusing.

God will bless us, everyone, if the inevitable next "A Christmas Carol" is better than this one.

Most of the power of these moments comes from our strong feelings about the issues, not from what we see, as the screenplay is superficial and manipulative.

It is in no way a criticism to say that this is a solid, conventional film, skillfully made.

The documentary mixes scenes of rehearsals, interviews, and performances with dreamy, impressionistic moments, one loading a car, one in a beauty salon, with the women holding hand mirrors, that add a poetic, wistful quality to the story.

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.

As in another autobiographical memory movie about schoolboys, Louis Malle’s “Au Revoir Les Enfants,” Armageddon Time is the story of childhood innocence as remembered with regret and a sense of responsibility, with adult recognition of history’s vilest bigotries and injustices.

The documentary’s skillful use of archival footage connects us to Tucker’s extraordinary talent as a singer and her vibrance and magnetism as a performer, adding poignant context to the present-day scenes, showing her often faltering, trying to hide her vulnerability.