Susan Wloszczyna

This “Beauty” presents a far more inclusive view of the world. One that is awash with a sense of hope and connection that we desperately need right now. If you desire an entertaining escape from reality right about now, be my guest.

A somber and derivative relationship drama.

I applaud whoever thought of casting Jennifer Beals as Sam’s mother, the lone grown-up who has any real impact.

Director and co-writer So Yong Kim achieves a delicate, naturalistic tone both visually (many scenic outdoor settings involving rain, bodies of water or both) and melodically (a mostly soothing heart-fluttery soundtrack) that is underlined by handheld camera close-ups.

There is plenty of visual razzle-dazzle, to be sure, but not much else.

Is Wheeler filled with twangy clichés? Yes, but this attempt at pseudo cinema verite basically rests on Dorff’s slim, plaid-shirted shoulders—and dang if he doesn’t make this simple yet sincere saga hit more than a few high notes.

Somehow what comes close to dissolving into heartbreaking tragedy instead offers the merest whiff of hope for the future. As Neill’s seen-it-all Walter says when all hell begins to break loose, “Everyone’s got a story like this … it’s as old as the hills.” If only said tale were told with a bit more consistency.

The main problem of Monster Trucks is how content it is to take its sweet time before shifting into high-action gear.

Despite the compact running time, it is easy to feel that you have come to know—and likely admire—Elizabeth Murray. So, mission accomplished.

[Maren Ade] fully embraces the inherent awkwardness of a testy emotional bond and tackles it to the ground, all the while mining it for heartfelt humor without the all-too-common safety net of predictability found in big-budget Hollywood fare.

Its makers know all too well how to fully exploit the power of a catchy pop song.

I don’t think I've witnessed a film this year that managed to so completely and utterly collapse into crass garbage in its last few minutes while abusing what little good will it has.

Alas, Office Christmas Party serves as yet another reminder that allowing your cast to madly improvise (as evident with an unnecessary end-credits blooper reel) instead of actually providing a coherent script with a scintilla of logic often leads to a decline in sustained laughter.

Let’s just say if you are human, there is no way that Lion won’t move you.

As with most complicated narratives, it is best to simply sit back at some point and enjoy the ride.

Trolls is a sugar-shocked “Shrek,” an aggressively auto-tuned animated fun ride for easily distracted times.

Does it matter that the trajectory of The Eagle Huntress feels scripted at times and the actions we witness are sometimes staged or even manipulated? Somewhat.

While the intentions behind Priceless might be honorable, the results are much less so.

As hard as it is to admit, Guest’s once-incisive satirical bite has grown dull in its familiarity. He doesn’t seem to be having as much fun here and neither are we.

Better than middling as it sidesteps the trap of simply pandering to its youthful demo with cheap laughs and silly mugging.

At the nasty center of the otherwise dutiful Denial is a slimy, self-aggrandizing upper-class blowhard of a bigot who believes he has every right to circulate hateful and hurtful falsehoods to his followers.

I can’t say this is the best film you will see all year, but I can assure you won’t see another one like it again for a long time.

There is a welcome sense of familiarity in Bridget Jones's Baby — but also of the fresh and au courant.

This is first and foremost Eastwood’s movie and if he wants to feature his incongruous tinkling piano-bar jazz on the soundtrack, that is his prerogative.

My diagnosis of why Morgan malfunctions as a chilling plunge into blood-splattered mayhem is that, before the midway point, it is pretty obvious what the eventual outcome and supposed big reveal will be. This is not the fault of the actors necessarily — there are highly respected talents involved here. It is just that we have seen most of this unfold before.

The Intervention is no embarrassment, and any time a woman is allowed to direct a film benefits the cause. But if DuVall’s purpose was to provide a snapshot of her generation, she should have sharpened her focus and dug a little deeper.

All it takes is one breathtaking shot near the conclusion of A Tale of Love and Darkness, when the aged Amos stares helplessly at his troubled mother through a pane of glass coated with teary rivulets of rain, to know Portman has an artistic vision worth sharing and developing.

In this charming and delightful biopic that bears her name, the matronly Jenkins is an endearing and courageous stand-in for countless other mortals whose aspirations in the arts often far exceed their talents.