Todd McCarthy

Succeeds in capturing the book's essential themes and concerns, albeit in a hectic style that could not be more antithetical to that of the literary master of international intrigue.

Bright, glossy, grandly scaled and dramatically stolid, 79-year-old writer-director Jerzy Kawalerowicz's longtime dream project mixes earnest religiosity with the depraved cruelty of Nero's Rome in the classic De Mille tradition.

Sedentary at these encounters may be, they are also frequently riveting and invariably fascinating, as they provide first-hand accounts and insider insights of the sort infrequently heard. These almost invariably underline the significance of the film's title in the scheme of diplomacy and rewardingly reveal the hopes and regrets that come with the territory.

An insightfully observed and exceptionally acted ensemble piece precisely about what the title suggests.

Barry emerges as an involving and credible portrait of a smart young man with a good deal of growing and learning yet to do.

Dazzlingly nimble and light on its feet, this breezy but densely textured love letter to modern, multicultural Paris in the guise of a romantic suspenser returns its director to the vibrant vein of his pre-Oscar work in "Something Wild" and "Married to the Mob."

Fennell’s film could be called a polemic, but dramatically it’s so sharply and boldly laid out that its narrative shocks rule the day. It’s jolting to witness how it refuses to let anyone off the hook.

An impeccably made and genuinely moving account of how Scottish author J.M. Barrie came to write "Peter Pan."

Genuinely spectacular and historically quite respectable, Ridley Scott's latest epic is at its strongest in conveying the savagery spawned by fanaticism.

Befitting the subject's personality and entertainment predilections, What She Said is adamantly engaging, full of lively, appreciative voices that, more than anything else, bring her enthusiasm and keen-mindedness back to life.

The director and screenwriter downplay the conventional melodrama inherent in the situation in favor of emphasizing how practical problems should be addressed with rational responses rather than hysteria, knee-jerk patriotism or selfish expedience.

Well-made and acted Coen Brothers remake lacks the humor and resonance that might have made it memorable.

Sad, compelling documentary leaves a few key questions frustratingly unanswered, but the raw materials here are sufficiently bracing.

Marked by some powerful scenes, fine performances and colorful dialogue, this talented directorial debut by actor-writer Billy Bob Thornton has its effectiveness diluted by serious overlength and a rather monotonous, unmodulated tone.

This surprising collaboration between director Clint Eastwood and "Milk" screenwriter Dustin Lance Black tackles its trickiest challenges with plausibility and good sense, while serving up a simmeringly caustic view of its controversial subject's behavior, public and private.

With Ledger onscreen more than might have been expected, the film possesses strong curiosity value bolstered by generally lively action and excellent visual effects.

Just as quirky and idiosyncratic as the Gotham-based writer-director's earlier efforts, this one pushes the spiky humor a bit more to the fore while unfolding a tale loaded with offbeat oppositions and odd character detailing.

Upstream Colors certainly is something to see if you’re into brilliant technique, expressive editing, oblique storytelling, obscuritanist speculative fiction or discovering a significant new actress.

An entertainingly eccentric horror tale that envelopes the audience in a dreamy and bloody nightmare.

Fury is a good, solid World War II movie, nothing more and nothing less.

Exceedingly imaginative, beautifully realized animated epic adventure.

A pleasurable throwback to the sort of gritty, low-tech international thriller that was a staple of the 1960s.

Audacious, confident and fueled by youthful energy.

Engaging, refreshingly human in its humor and becomingly modest in its aspirations, this hip look at being out of it announces some promising new talent and will play well with young audiences looking for comfortable entertainment that doesn't feel manufactured.

Underachieves in its own way by trapping an expansive, probing story in a brittle, highly artificial style that constricts character and emotional development.

The film yanks the viewer to attention with its keen sensitivity to the rough winter conditions and limited prospects faced by the locals. It also features one of Jeremy Renner’s best recent performances, but does fall into some traps when it ventures into Tarantino and Peckinpah territory.

An unusually fresh-feeling indie with a nice sense of style. The potentially predictable story of a young man who undertakes an impromptu journey to resolve some unfinished family business emerges as an appealing tale of personal growth with hand-crafted contours.

Beautifully acted by a diverse ensemble, this Good Machine production is carefully crafted and deliberately paced.