Rene Rodriguez

In Logan, the clawed mutant Wolverine finally gets to slash through the constraints of a kid-friendly PG-13 rating, and the result is bloody, vicious fun. The squeamish will avert their eyes, and young children should not be allowed anywhere near this movie, no matter how many X-Men action figures they own.

Lurking just beneath Water's serene, storybook surface is an unmissable, defiant passion.

Ebullient, joyous film.

Bad Milo! directly envokes a number of earlier pictures Vaughan clearly adores, including "Basket Case," "It’s Alive" and even the workplace satire "Office Space." But the movie fails to ground its promising (if preposterous) scenario in any kind of recognizable reality.

This is easily Bay’s best movie, the work of a filmmaker with a cracked sense of humor that he is able to share with the audience.

The movie offers just the right amount of spectacle.

This is a big, audacious stunt of a movie -- pointless, perhaps, but incredibly fun to play with.

Shows us a man who not only derives great pleasure from devoting himself to his job but also, in the process, has helped shaped the greatest city in the world.

With this gorgeously melodramatic ode to cinema, the filmmaker comes dangerously close to losing himself inside his celluloid dreams -- and leaving the audience behind.

The world's newfound familiarity with the region's troubles only make Kandahar more compelling.

Blue Caprice only spends a few minutes reenacting their crime — the movie shows us exactly how they did it in just a couple of scenes — because the facts of the case aren’t the movie’s focus. Instead, this lyrical, frightening film is a portrait of a man consumed by self-hatred who decided to take it out on the world.

Unexpectedly funny, leisurely paced and oblivious to the demands of its genre, Inside Man has a loose, playful vibe that's at odds with its grave life-and-death scenario.

An intoxicating, world-class collaboration between a filmmaker (Spain's Fernando Trueba), two artists (designer Javier Mariscal and animator Tono Errando) and a musician (Cuban pianist/bandleader Bebo Valdés).

Too much of Lords of Dogtown still feels conventional and sugar-coated.

Gunn makes this huge entertainment accessible to the converted and the neophyte alike, and he has only has one goal: To send you out of the theater with a fat smile on your face. Mission accomplished.

But there are so many beautiful, tender moments in In America -- that it's easy to forgive Sheridan's manipulative ploys.

Reveals yet another facet of this always-unpredictable filmmaker: a flair for compassionate, humane melodrama.

Across the Universe can't achieve the transcendence and exhilaration musicals strive for, but it often generates a singular kind of magic you've never experienced before.

Mines a great deal of its humor from the can't-be-bothered attitude of British culture, but the jokes survive the trip across the Atlantic mostly intact.

Gaghan is attempting to cover so much ground in Syriana that the movie at times feels a little suffocating.

This glitzy, infectious and unusually heartfelt musical doesn't always hang together as a satisfying narrative -- too many characters compete for too little screen time -- but its pleasures are numerous enough to override its flaws.

Raucous look at an equally raucous phenomenon.

Shine a Light provides the clearest and most intimate viewing experience of the band to date. It is also a happy circumstance that the group, now in their mid-60s, have rarely sounded tighter.

An oddity, but a remarkably intriguing and original one, and in Buck ... it also has the most unforgettable movie character of the year.

It's just exhausting. For all of the movie's sumptuous, eyepopping craft, you'll feel more than a little relief when Mathilde finally reaches the end of her quest.

The musical numbers are exhilarating, and the story unfolds against a delightful, ever-changing series of set designs, haircuts and fashions. But it's the performances in this look at the often- harrowing relationship between Tina and Ike Turner that you'll remember. [09 Jul 1993, p.G5]

One question in particular hangs heavily over the entire film, a plot hole so distracting it becomes the only thing you can think about.

Margin Call doesn't demonize its characters, nor does it absolve them of their sins. The movie simply shows, without judgment or anger, how our economic crisis came to be.