Tom Keogh

The look, the feel, the brood-y, brilliant cast: This is an oddly affecting movie, all right, a jellyroll of Bronte and Hemingway.

By creating characters from emotional wellsprings rather than concepts, Leigh thrills us with the possibilities that emerge when people are merely in the same room.

It is another sumptuous visual feast from the studio, full of endless images finely detailed and often lavish.

A wondrous honesty.

Achieves a kind of beauty through its overlaying enigmas, and Carrey.

Driver’s performance as an uncertain man getting through the day-to-day prosaic, quietly buoyed by passion and artistic commitment, is exquisite.

This is vintage Allen, his powers intact after a string of increasingly cranky, creaky films in the last few years.

Finally, there's a female action hero for the summer of 2000, and she's a . . . chicken. But a chicken to believe in.

So funny and smart that holding it up against its predecessor is as pointless as comparing peak episodes of "Seinfeld."

A very moving and surprisingly funny experience.

For all its strengths, Krisha can also be self-indulgent and artificial.

A film so driven by pure style that a script barely seems necessary in its first half, Boogie Nights becomes bogged down in a predictable aftermath of drug deals, post-stardom decay, cocaine-fueled nuttiness, and self-loathing.

The lure of Sling Blade is both elemental and hauntingly familiar, and I would not be surprised if Thornton's breakthrough film is one day considered a classic in its own right.

Soderbergh appreciates the value of having fun with a so-so script, turning its cliches into fresh experiences and infusing energy into the margins of a predictable story.

The filmmakers went for cheap laughs as well as for some a little harder-earned. The only thing pure about this film is the dog, and he's magnificent.

An exquisite trio.

Miike misses an opportunity to add even more resonance by telling us a little extra about each of the samurai fighting the good fight. But he's also busy shooting nearly an hour's worth of complicated fight choreography. Enthralling as that is, Miike's greatest achievement here is in giving us reason to deeply care.

A surprisingly vital film.

Mustang could easily have been a pure heartbreaker, but it isn’t. It is surprisingly nuanced and even something of an adventure tale about a fight for freedom and identity.

Whether or not Breaking the Waves succeeds as a profound work is something that's hard to say after one viewing, but it is certainly a wholly original piece of work.

A riveting and illuminating documentary.

Rohmer's trademark dialogue...is as poetic in its plainness as ever.

There’s a lot of exposition involved in making all this palace intrigue clear. But Zhang balances the talky sections with breathtaking outdoor scenes. Zhang’s trademark, preternaturally balletic fight sequences also do not disappoint.

That’s a lot for a viewer to take in, and as pleasing as some aspects of Your Name can be, there’s no question Shinkai’s overstuffed movie often trips over itself.

The story, ultimately, is about the classic conflict between a desire to cherish and protect one's unique gifts from a brutal world and a more practical instinct to compromise beauty.

Overpraised, intellectually soft, narratively unfocused, and thematically ambivalent.

The extent to which Black and Louiso help make this film terribly witty and caustic and worth every minute of its almost two-hour running time is immeasurable.

In all, this film is a major disappointment with a few powerful highlights.