Tom Keogh

A very pleasant experience in watching life unfold in its own direction and time.

Firmly establishes Crowe as a standard-bearer of original thinking in the dispiritingly redundant state of American cinema. Don't miss this one.

What rescues “Diaries” and its grimy, cracked-glass look is its firm grip on Stephen’s incremental awareness that he and his misery are not the center of the universe.

Snappy heist film that keeps changing the rules of a mystery so that one is never sure whose hands are at the controls.

Don't let Croupier go by without a look.

Time to Choose tells us all is not lost — yet. But the hour is late.

Heckerling fails to crack the outer shell of the story and its key relationships.

One can be forgiven for leaving the theater feeling a modicum of hope, and for that we owe Warren Beatty something.

The would-be emotional centerpiece of his three-hours-plus adventure flick is the most juvenile romantic tale of 1997.

Its own, tough-minded antidote to the grab-the-brass-ring whimsy of its premise.

Levinson is at the top of his game with Liberty Heights, his instincts acutely cinematic, his purpose clear.

There’s plenty here to enjoy.

Beyond the fantastic contrivances of Gods and Monsters, these performances are startlingly human.

Hock handles that perennial sports question — what is the athletic limit of a human? — with interesting sidebars about the brain and physics. Such mysteries mingle with irresistible lore in this satisfying work.

Fascinating noir, which will long be remembered for its extraordinary lead performance by Catherine Deneuve.

One of the best films seen in many years about the mysterious workings of time and memory.

So compelling is writer-director Joel Potrykus’ unnerving scenario — with its largely ambiguous tone of horror dramatically offset at times by explicit frights — that a viewer isn’t necessarily bothered by a lack of basic story information about who, what, when, where and why.

A smart marriage of modest technical ambition, sophisticated material, and a hang-loose presentation that belies the production's no-frills sacrifices.

Certainly one of his (Scorsese's) most profound works.

This modest film’s heart is really in the mysteries of small moments.

This is a pretty leaden cinematic experience.

Ross might have been better served by dismissing verisimilitude altogether and going for a real fable-fable to make what is essentially a very simple point about the dangers and rewards of accepting life's beautiful risks.

As with Bill Clinton himself, Primary Colors forces one to take the disappointing with the good, the letdown with the promise, the compromises with the hope.

It is unusually but effectively organized as an almost unbroken chain of intimacies between the small and large players in this story.

The unusual but revealing documentary Matangi / Maya / M.I.A., a hodgepodge of old video diaries, music videos, performances and interviews spanning decades, reflects M.I.A.’s passionate efforts to enlighten fans about victims of government oppression — while also getting people around the world dancing to her music.

[Roos's] dialogue (including an on-and-off voiceover by Ricci's pregnant, runaway sociopath) has a ringing clarity, his satire is low-key but quite real, and his actors mesh so perfectly you'd swear they rehearsed for months before shooting.

Cooke presents a case that the war on drugs in America is not only a no-win scenario, it is no longer (if it ever was) designed to be won as much as fulfill disturbing, narrow agendas in the public and private sectors.

T-Rex is ultimately about a remarkable (and likable) young person finding her personal power despite pressure from all sides.