Rex Reed

The film knocks itself unconscious trying to be whimsical and offbeat, but is so contrived that it is as embarrassing as it is unfunny.

The movie is so clueless and time-warped it could be comprised of outtakes from "Father Knows Best."

Flawed but bittersweet and enjoyable, this film may be the final chapter in a colorful and illustrious life.

What emerges is time pleasantly spent with a slice of life that examines a romantic détente between two cultures. Like smoke from an Egyptian hookah, the melancholia lingers.

The movie piles on one damned thing after another, often turning a truly original life story into a Rabelaisian soap opera replete with powdered wigs and violin concertos.

Grousing aside, this is a disarmingly sweet movie, enjoyable to the hilt, with music that really stomps.

In their seventh slog around the forbidden tropical island that author Michael Crichton originally created, the prehistoric monsters are noisier, the people they terrorize are prettier, and the screams are louder than ever. Otherwise, it’s business as usual.

The latest calcified bore by Sofia Coppola is less pretentious than "Marie Antoinette" but every bit as inertly stupefying as "Lost in Translation."

Every generation gets a new one, and this time, replete with computer graphics and singing mice, Kenneth Branagh has created a live-action fairy tale that pulls out every stop and spares no expense.

I found the whole thing pokey and plodding, but there’s no denying the fact that even when sitting through Mr. Holmes seems numbing, Mr. McKellen is a force so powerful he’s his own reward.

The script is breezy, but neither of the two leads have the heft or charm to carry an entire feature-length film - separately or together.

Sensitive performances, mature and self-assured direction, and understated writing make Keith Behrman’s Giant Little Ones an emotionally involving, above-average coming-of-age story with a profound impact and mercifully few clichés.

It's uneven, but its optimistic message-lost causes can find strength through friendship and bonding-is contagious.

Remakes are odious, but Speak No Evil, while thoroughly unneeded and unasked for, is an Americanized remake of a 2022 thriller from Denmark that services its original material well, thanks mostly to a sprawling, contradictory and totally galvanizing centerpiece performance by James McAvoy.

Bring plenty of Kleenex. A nickel pack won’t do.

Another truthful, intelligently calibrated and fully committed performance by the remarkable Lucas Hedges following this year’s previously acclaimed "Boy Erased" rewards the sensitive, pulsating and intimate family drama Ben Is Back.

It shouldn’t happen to a dog — or to an audience of dog lovers.

A saucy, twinkling star performance by Michael Keaton make this one of the must-see entertainments of the year.

Sensitively directed by Francis Ford Coppola’s granddaughter, Gia Coppola, it’s a film about a familiar subject, but with a heart as big as the Vegas strip and a style of its own that holds interest from start to finish.

This film is too long for a documentary, and only a true Sidney Lumet fan is likely to sit through nearly two hours of it undistracted. Still, it’s a fascinating exploration of how a great mind worked by allowing the quality of his scripts to determine the style of each film—including not only the inner life but the camera, the clothes, the entire visual approach.

Writer-director Nicholas Tomnay knows how to make maximum use of plot twists that keep an audience on its toes, and Nick Stahl is a skillful master of how to move the gore with exactly the right pace to exude charm in spite of his character’s ongoing toxicity.

The result is a twitching convulsion of vicious drivel passing itself off as a movie, which can be best appreciated by the kind of people who dig "Showgirls," the "Saw" franchise and Spike Jonze-Charlie Kaufman flicks.

Kate Beckinsale is marvelous as a ruthless baddie in a bustier, and in summation, Love & Friendship gives off a lovely, restrained glow at a time in films when almost everything else has the subtlety of headlights.

The actors are so exemplary that it is difficult to imagine this is not a documentary. They might not be household names, but they will be.

Causeway is a disappointment, but the thing you take home is Jennifer Lawrence’s nuanced performance as she shows every shifting emotion and contrast in the life of a woman soldier searching for definition who doesn’t feel at ease in either world—war or peace.

Carefully directed and gorgeous to look at, with haunting performances and maximum suspense.

I haven't seen a movie this bad since "Battlefield Earth" and "Howard the Duck."

It’s anyone’s guess whether the amazing Mr. Redmayne’s most prestigious performance will go down in the archives as Stephen Hawking in "The Theory of Everything" or as the tortured, androgynous woman trapped in a man’s body in The Danish Girl. But it’s a sure thing that he’ll be nominated for another Oscar.