Stephen Whitty

Despite his draw to tragic subjects, Lonergan holds onto a sharp, dark, Irish sense of humor, and a feel for the absurd that comes out at the most unexpected times. A playwright's sense of what actors do, too. Affleck gives a career-best performance here.

It's really a movie about love at first sight, about the dizzying early days of a relationship, about a passion so strong it can't be described, or denied. And that's something everyone can identify with. If they're lucky.

Let other directors play with toy soldiers and computer effects. This is big-time, old-school filmmaking. Dunkirk isn’t overdone. It’s simply done epically...But it’s also human. It has room for small acts of heroism, of kindness, of forgiveness. And for a single, simple important, timeless message of resilience: Take what comes. Do what you can. Never surrender.

The Irishman is vintage Scorsese, with an often sinuously moving camera, occasional break-the-fourth-wall monologues, wicked wise-guy humour, and explosions of sudden tenderness and casual violence. And its final half-hour pulls something even deeper from the filmmaker – moments of reflection, twinges of regret, worries about chances thrown away.

Its quiet humanism and painstaking attention to detail are sure to appeal to the core audience which has faithfully followed her for more than a decade.

The terrific Hell or High Water is like a gritty new retelling of the Frank and Jesse James story — only with getaway cars instead of horses, and assault rifles replacing six-shooters.

Grumpy T'Challa may be on the throne, but it’s the women who rule. And Michael B. Jordan adds fire as Killmonger.

Gradually the film turns its very specific story of one immigrant into a moving group portrait.

For a movie about purpose, Captive never finds its own.

It’s not just “Impossible,” it’s irresistible.

A warm gathering of Scandinavian artists, with Sweden’s Skarsgård and Norway’s Hovig both excelling under Norwegian director Maria Sødahl’s attentive care.

With standout performances by stars Denzel Washington and Frances McDormand, expert imagery and striking production design, Joel Coen’s The Tragedy of Macbeth is hardly a tale told by an idiot. But it could actually use a little more sound and fury – and a better idea of what it’s supposed to be signifying.

Built on a potent mixture of quiet bravery and hard-won access, David France’s new documentary, Welcome to Chechnya, puts audiences in the middle of the literally life-or-death struggle of an already endangered minority.

Lit like a Rembrandt, acted like a neo-Realist classic and with all the searing social conscience of a new Dardenne brothers film, Vitalina Varela is both richly familiar and profoundly unique; if occasionally a challenge to watch.

The result is a careful chronicle that, while staying true to its observational ethos, nonetheless, leaves plenty of questions – and, occasionally, its audience – behind.

There's never an emotional moment here to compete, or even compare, with his last film, "Boyhood." But there's not supposed to be. Everybody Wants Some!! is as laid-back and low-pressure as a Saturday afternoon at someone's dorm room.

Kind of like all the other characters Annette Bening plays, year after year - never to nearly enough applause.

True, sometimes director Steven Spielberg lays it on so thick you think he has a trowel. Inspiring scenes are flooded with sunshine. John Williams’ score swells and kvells. (Of course, Spielberg didn’t become America's most popular director by being its subtlest.)

Old silver-fox Gere looks great. He’s almost embarrassingly charming — which is the point — but there’s not much else here.

With authentic spaces like this around them, Ahn’s actors relax into the realism.

The cast is all top-notch. Harrelson can peel and eat scenery like a bunch of bananas, but he’s mostly in control here. Andy Serkis is beautifully intense as Caesar, and Steve Zahn a welcome addition as the scaredy-cat Bad Ape.

The Lobster is a love story for the unloved. Dark-hearted and brutally sour - and imaginative, and sometimes very funny - it's set in an alternative world where relationships are mandatory.

This may be a sci-fi fantasy about giant man-eating bugs, but it’s grounded in human facts and folly. Little here is safe. Nothing is predictable. It’s surprising how effectively the silence increases the scares, too.

Director Kelly Reichardt, who made the great "Wendy and Lucy," likes stories that unfold slowly and simply. Sometimes she'll just let the camera run, making us watch the awkwardness of people who can't connect.

This is a small, carefully crafted film that tries hard to pierce the protective armor of a recluse known to be difficult and domineering. In the end, Stokes still remains slightly unknowable, as she’d undoubtedly prefer. Yet the documentary’s deep dive into her extraordinary archives, and the grainy video treasures it unearths, make for fascinating viewing.

Directed with calm passion and controlled outrage, the movie — named after the amendment which outlawed slavery, but left a significant loophole when it came to criminal convictions — is a study in profits. And power.

Whenever the movie begins to falter — it cuts, sometimes confusingly, among at least three different timelines — Portman pulls it back together, and sets it back on course.

This is a film with the logic of a dream, which is to say, no logic at all. But it also has the power of a nightmare. And, like some of them, it lingers.

17 Blocks ... is packed with gritty realism, and at times its uncensored honesty almost makes you want to look away.

Hugh Jackman doesn't play Wolverine in Eddie the Eagle, which is too bad. The film deserves to be slashed to bits.

It's a tough, understated part to play, and Edgerton does a terrific job.

Silence is a slowly unfolding, deeply thoughtful film about questioning yourself. About questioning authority. About taking stock of where you've failed as a human being, and wondering how you can make amends — to yourself, to others, and to God.

Like the sequinned, simpering erotic dancers it spotlights, Hustlers is a lot smarter than it initially looks. Given a story about a gang of larcenous strippers, audiences might expect little more than dirty jokes and steamy sex. But this slyly feminist movie pushes empowerment, too; it’s a film about being in control, not losing it.

Washington isn't a visionary director, something he's proved before in "The Great Debaters" and "Antwone Fisher." But he is a fine actor, and if nothing else Fences preserves his career-best performance, as a loving, bullying, wounded, roaring bull of a man.

The Painter and the Thief suggests, human relationships are complex and multidimensional things. And whenever you foolishly start to try to contain them in a simple frame, they stubbornly burst out.

Since Dornan is as dull as a catalog model anyway — he wanders through the movie like an Abercrombie searching for his Fitch — the shopping-list look of the movie makes sense. But Dakota Johnson deserves better.

The cast is a hoot, too. Tatum is full of easy charm but Adam Driver is even better as his brooding brother (clearly they’re sons of different mothers). There’s also a nice, out-of-character appearance by Katie Holmes, playing Logan’s hair-sprayed, hard-edged ex.

Has the bare necessities, but not much more.

Jackson is terrific, of course, although he's the spice here, not the main meal. As Lysistrata, Teyonah Parris is a fierce, finger-snapping leader while, as her man Chi-Raq, a cast-against-type Nick Cannon, is surprisingly tough and moody.

Still, there is plenty of erotic tension here, as the days drift by and the nights drag on. Kirsten Dunst is terrific as a slightly sad teacher with her own designs on the Yank. And Elle Fanning is a landmine in lace as the school flirt.

A stand-alone adventure, it’s also a salute to a series, a character and a quietly committed actor.

We get it, and DC finally should, too: Superhero movies can be fun. And Wonder Woman is a movie that'd send even the Suicide Squad home smiling.

That grim realism sometimes makes The Revenant about as appetizing as a three-course meal of turkey jerky — but also serious enough to remind you of classics like "Jeremiah Johnson" and "Little Big Man." It's a gruesome adventure story that rarely lets up.

Luckily the latest episode to arrive, dubbed Fifty Shades Freed, is also the last. And good thing, too, because by now we’ve definitely gone 100 shades too far.

In a nice bit of sorcery, Disney’s taken their 1991 animated classic — and their 1993 Broadway hit — and combined them into a groundbreaking delight, anchored by a breakthrough performance by Emma Watson.

Casal and Diggs have both lived these roles for years, so it’s not surprising that they never deliver a false moment.

Sometimes, more is less. Although it’s called Captain America: Civil War, the latest Marvel movie is actually a supersized “Avengers” picture -- overstuffed to bursting.

Evan Morgan’s sometimes weird, sometimes whimsical thriller delivers a grown-up blend of film-noir tropes and deadpan humor, for a comedy-drama which starts off lighthearted and then deftly darkens.

It takes more than simply celebrating rural life and marveling at nature to make someone the next David Gordon Green, let alone the next Terrence Malick. While Yeomans inarguably finds something significant in the slow pace of small towns, the power of narration and the jolt of handheld cinematography, exactly what that is isn’t always clear. In fact, sometimes it’s literally unclear; shots slip out of focus, and some close-ups are so poorly lit the characters’ features disappear.

Hidden Figures is an earnest movie, but not a very exciting one. The screenplay feels as engineered as a Gemini rocket launch, with every scene and line carefully calculated.

The film barely lasts an hour-and-a-half. Maybe that’s the problem with the movie. There’s not enough movie.

Spun mostly of sugar and air, this film is a lightweight, but mostly sweet, treat – and a lovely reminder of when pictures could just be low-key amusements, and the pandemic hadn’t yet turned cities into ghost towns.

As the colonel, Mirren is terrific — a fierce warrior willing to bend as many rules of engagement as it takes. As her commanding officer, the late Alan Rickman is just as dedicated but a little tired of bloodshed.

Although the script is a little flat — just because the story is true doesn't mean it should feel so predictable — Nair gives the film tons of energy and joy.

Although the story’s point is clear, the plotting is thin, and it can be easy at times for viewers to feel as confined as the prisoners. But the production design – all grey cement walls, with that platform cutting through the center of the screen like an infernal dumbwaiter – is superb.

No, this web-slinging crime fighter isn’t quite of world-saving, world-weary Avenger caliber yet. But that’s OK. In fact it’s better, because he’s something we’ve really been missing for a long time. Our old friendly, neighborhood Spider-Man.

Watergate is a fascinating film that both draws disturbing parallels and offers the opposition encouragement.

A film based on a true story should have three things — strong characters, fierce conflict and a fresh angle. Battle of the Sexes serves up all of them.

Gorgeously photographed, and as loosey-goosey as its hero, Captain Fantastic takes some unexpected turns. Is Ben eccentric or irresponsible? Is he raising free-thinking iconoclasts — or training a new generation of Unabombers?

Revenge may be a dish best served cold, but Domino dishes it up as a sloppy mess of warmed-over clichés. Instead of his old high style and kinky violence, director Brian De Palma delivers only crude thrills and ugly stereotypes, a soggy bag of junk-food snacks.

As much as you might want to look away from Dark River, you can’t. The direction is assured, inventive, precise. The performances are compelling. And while the writing is often a little too deliberately obscure, once it becomes clear where the story is heading, it moves forward with the force of classic tragedy.

A refreshingly offbeat noir, one that spices its murder-mystery thrills with a good bit of feminist empowerment.

Anchored by standout performances by Naomi Watts, Octavia Spencer and young Kelvin Harrison Jr., it’s a strong indie film about race, family and trust that should connect with fans of smart, provocative cinema.

Youth is fleeting. "Youth" is not. In fact, you may feel yourself getting older just watching it.

It's fun to have new version of an old Marvel favorite, and a storyline which adds some genuine mysticism to this ever-expanding franchise. But "Strange" is too often only odd when it needs to be truly magical, and Hollywood-safe when it needs to be brave.

The smartest kind of sequel, Ralph Breaks the Internet remembers what you liked about the first film. And then, not only gives you more of the same, but something different.

An artful, deeply felt documentary, Always in Season has its own, sadly necessary reasons for being.

In the end, perhaps, von Trotta’s search for Bergman never quite finds him. But did he ever quite find himself? All he knew was that he was an artist.

Compared to a really great poker game, sometimes “Molly’s” comes up a little short. It definitely keeps you too long at the table. And there are times — like every Sorkin script — where it won’t stop talking. Really, buddy, shut up and deal...But when the chips are down, its stars come through. And in the end, we all walk away winners.

It's a pleasure seeing Grant in a great part again, playing the sort of almost-cad he's best at. And Streep - who, in real life, can belt anything from Broadway to Bruce - is clearly having a ball singing badly.

A quiet, restrained drama, Louder Than Bombs works a little like a photographer itself, changing its focus, showcasing scenes from different points of view, rearranging the order of the images.

Pike is terrific, and Hamm has a credibly bleary, weary look. The movie’s ambitions are worthy. But it rarely turns its action into real excitement, or moves past cynicism into insight. It’s the spy movie that leaves us in the cold.

There is nothing safe about The Birth of a Nation.

Even if you disagree with Moore, it’s hard not to admire his bravura filmmaking.

It's not only filled with the usual special-effects eye candy, but smart, fan-focused writing.

It's an impressive achievement, and even Berg's taste for the obvious — like shots of Old Glory, still waving through the worst of it — can't overwhelm the humanity behind the drama. Real people, real danger — and real self-sacrifice.

It is sweet, and funny and quietly upbeat. Take a chance on it — and take your mom.

Popstar: Never Stop Never Stopping is a seriously ridiculous put-on. And in this summer of overheated special-effects movies, it’s a cool blast of fresh air.

The script is surprisingly smart, pulling together all the subplots and cutting among all the locations. Chris Pratt’s Star Lord has some clever lines. Thanos is a far more complex villain than we usually get. And the movie ends on a stark and shocking note.

It sounds a little too clever, but it's not. It's just clever enough.

Sequels are tricky things, and decades-late followups are the trickiest. T2 Trainspotting almost pulls it off, too, bringing back the original’s hallucinatory style, jolting musical choices and charismatic cast.

The Family Fang has a nasty little bite to it — and thank heavens for that.

It’s a raunchy, rollicking story of movie legends off the set and between the sheets.

Jordan really commits, and his scenes with Thompson have genuine warmth and intimacy.

The details of how the McDonalds literally invented the fast-food concept are fascinating. The period details feel right. All in all, the film's a slick, good-looking package. But it still feels empty. Where's the message? Where's the meaning? Where's the beef?

A lot of the jokes are surprising, and one gag...pays off terrifically. The two top stars are delightful, and a couple of cameos are nice surprises.

It’s a movie made with an insider’s knowledge (directors Ben and Orson Cummings are both proud graduates of the school) and affection (Shaquille O’Neal is one of the producers, as is art-world titan Larry Gagosian). And yet, while it has heartwarming moments, it’s not a predictable, eager-to-please entertainment.

although it’s far too fannish—this is not a movie that wants to dig deep into anything uncomfortable—it does give the rocker her props, while reminding fans of some modern rock history.

Marshall makes a good case for its hero as one of the brightest, boldest lawyers to ever walk into a courtroom. So why is it sometimes such a trial?

Right now, he's the perfect "Avengers" antidote.

The Front Runner works hard to accommodate all points of view.

Give Lawrence credit for a seriously emotional performance, at least, and thanks to supporting actors Moore, Sutherland and a sly Woody Harrelson for adding color and comedy.

Carefully made and perfectly acted.

This is a simple, macho morality tale—of the oppressors and the oppressed, of good and evil, and of the one man who sets out to settle the scales of justice. And the level on which it works is primal—and frighteningly effective.

Swiss Army Man's greatest challenge is to its audience. Just, exactly, how much will we sit still for? Endless scenes of Dano in role-playing drag, sporting a rag-mop wig and giving dating tips to a corpse? Frequent closeups of Radcliffe's furry flatulent buttocks?

Directed by, and starring, Don Cheadle, it's more about truth than facts. Did this all happen just the way it's laid out? Definitely not. But if the notes are wrong, the themes are right.

Jessica Chastain plays Sloane, and she's the kind of Washington power-player who'd scare off half the cast of "Scandal" — towering heels, pulled-back hair and a taste for the kill.

Come to Daddy starts out like a nasty drama, ends up as a gruesomely gory, coldly comic revenge thriller – and desperately loses its way somewhere in-between.