Rex Reed

Strongly acted, beautifully shot and sincerely aimed at clearing up some of the misconceptions about the Old West that have been passed off as history by Hollywood movies.

This is a rare feel-good treat that nudges the heartstrings and makes you feel optimistic about the human race.

A first film by theater director Thea Sharrock, it goes down smooth as sherry.

You get compassion and intelligence instead of cracker-barrel homilies. And you get mesmerizing performances.

It's a fascinating film that I enjoyed thoroughly.

Directed by Jon Gunn with no frills but a lot of suspense that comes out of the story naturally, without the need for any manufactured Hollywood thrills, and co-written by actor Meg Tilly and Kelly Fremon Craig, this is one of those rare emotional sagas “based on a true story” that begs to make it to the screen but seems preposterous when it gets there.

Hey, Boo solves the mystery of Boo, and also, to some degree, the mystery of Harper Lee. It's a fine film, well worth seeing.

The May-December romance is an overworked genre, but steady hands guide this one with intelligence to a sad but satisfactory conclusion.

With so much to look at and a plot to digest as thick as Dutch cocoa, it is not without a few problems, but I found this astonishing movie so rich and satisfying that I liked it in spite of itself. It’s the kind of guilty pleasure that sometimes confuses, but never bores. Color it flawed but gorgeous.

Pop songs, beautiful bucolic scenery and the joy of watching Jane Fonda fizz in a fun role that looks like a no-brainer are elements that a skilled director like Australia's polished Bruce Beresford (Driving Miss Daisy) blends with perfection.

The distinguished British actress Claire Foy’s task of making the supportive but long-suffering wife is also a bit of a slog. Disciplined, focused and more in love with outer space than the human race, Neil Armstrong remains something of an enigma.

Jane Fonda's first French-speaking film in 40 years finds her leading a joyous ensemble of septuagenarians in a sweet, thoughtful and spirited examination of how to grow old with dignity and pride in a regrettable era when senior citizens have been reduced to the status of a political agenda.

A fresh and valiant attempt to breathe some fresh air into the #MeToo movement, Submission is stimulating and intelligently rendered until the final act, when predictability sets in.

If you have a strong stomach it is well worth seeing for the lessons it teaches about the value of survival in the pursuit of redemption.

It is far from perfect, but the entertainment value is undeniable.

The result is a film of great humanity that reveals Albania as a primitive region struggling to bridge the gap between medieval European customs and the tide of progress.

The point of The Iceman is “Even monsters are human,” but it takes a great actor to make a dubious theme convincing.

So it’s less bloody and gruesome than "12 Years a Slave." But make no mistake about it; the legion of protestors with no plans to see The Birth of a Nation is growing.

It's a special film of sacrifice, redemption and hope in the shadow of a holocaust that packs an emotional wallop from which there is no escape. I can't get it out of my thoughts, and I recommend it highly.

The Forgiven is not a journey every viewer will want to make, but it’s a rewarding experience to watch Ralph Fiennes play the emotional subtexts of such a complicated role with such power and nuance.

As a film, it’s uneven and clumsy, but as a responsible political statement about the chaos we live in now, it’s both enlightening and troubling.

Unlike most alleged Hollywood rom-coms, Like Crazy is delicate, uplifting and definitely worth investigating.

The acting is first-rate from start to finish, but it is really Mr. Waltz who keeps the action flowing. Both demon and clown, he’s horrifying, appealing and immensely mesmerizing in a film about the pitfalls that await anyone who falls for charm while ignoring the evils that can sometimes hide behind the facade of disingenuous priorities.

This is one terrific movie about one terrific horse. It enthralls on so many levels-emotional, cinematic, historic.

Good acting and plenty to think about, but a better director than Mike Binder would have made a better film.

A film five years in the making about the poisonous effects of movie fame on the young, this fascinating but dismally depressing Swedish documentary is well worth seeing, but never fully escapes the feeling that it’s all been seen before.

Me and Earl and the Dying Girl treats a serious subject with wackadoodle humor that is endearingly contagious. It’s tender, clever, wise and highly recommended.

The most memorable thing about it is the profoundly understated sensitivity of Harris Dickinson, a (surprisingly) British actor to keep an eye on.