Widows works best as a slow-burn thriller, a masterclass of patient reveals and cleverly withheld information (which, as any fan of her knows, are Flynn’s hallmarks). But Widows has more to say, touching on the topics of generational power, the dynamics of race in politics and marriage, the institutional racism present in police violence.

Checking in at nearly three hours and so full of passions and appetites, it’s impossible for it not to exhaust you.

It’s disheartening that it took until 2018 to get a gay version of this adolescent staple from a major studio. But at least it was worth the wait.

At times the film threatens to become relentlessly bleak, but never fully so, thanks in large part to Plummer’s performance. And cinematographer Magnus Nordenhof Jønck finds beauty in the most desolate places; even flashing police lights set against nightfall are inviting.

The film is fascinating in its exploration of the give-and-take between art and commerce.

It’s a really good film, but it’s certainly not an easy one to watch.

Overall, Radioactive is a fitting tribute that is not entirely glowing (outside of the bottle of radium Curie takes to bed every night), but rather an honest and touching depiction of one of the finest scientists to ever live.

We’ve seen crusty old geezers with hearts of gold plenty of times in films. Here we see how this one got that way, and thanks to Lassgard and Holm, it’s a journey we care about taking.

The film begins with upbeat music and what appears to be a comedy-of-errors setup, but it becomes so much more, bringing us through dark territory with wit, anger and grace, becoming in the end a much fuller tale for it.

It's all very relatable. The film allows audiences to see that we are all human beings trying to make sense of the world and live our lives.

A fun and thrilling film which at times plays like a car race somebody stuck a movie into the middle of.

A sharp turn on the romantic comedy, a movie about flawed people doing flawed things, often in funny fashion.

Naharin’s dances, amply illustrated from decades’ worth of film, is visceral, emotional and sometimes shocking.

This is a crazy movie, in the best possible way. Body horror films have to be willing to get nuts to really work ― “The Substance” knew this, for instance. And Franco and Brie, along with Shanks, fully commit to this.

The film doesn’t need to make a case for Marina’s basic humanity and smartly avoids clichés of persecution storytelling, instead ceding the floor to Vega’s magnetic presence and soulfulness. She is a marvel, and if one doesn’t come away loving her as Orlando did, it’s no shortcoming of the film.

A fanboy's dream come true, a smart take on a smart comic that actually looks the part, with performances that make it worth watching for the rest of us, too.

It’s quite good, thanks to the sturdiness of the story, the jaw-dropping visuals and, most importantly, the one thing the first film didn’t offer: Emma Watson.

There is a predictability to the story, but that's OK. The acting is superb, Holbrook in particular, making That Evening Sun an understated pleasure.

Blue Ruin is a movie about revenge, but it reaches far past the bottom-shelf titillations of fantasy to tell a richer, character-driven story with a protagonist who's less avenging angel than ghost.

City of Ghosts isn’t merely about the personal sacrifices of these men, but a testament to the necessity of a free and open press the world over.

There is an honesty in this performance, a genuineness that really elevates the film. It’s not always easy to watch, and it’s certainly not a lot of fun. But it is impressive, and that’s what carries it.

With a filmography stuffed with masterpieces, the Coen brothers’ greatest trick is balancing the ironic commentary on cinema and storytelling with the dramatic impact of compelling human stories well told. And it’s a trick they pull off again and again.

Tremendously entertaining.

The movie is more a collection of cool people telling great stories than it is a structured documentary (despite Camalier’s attempts in that direction). But in this case, that’s enough.

Philomena could have been a sappy movie, but it’s not. Instead, with such assured performances, it’s proof that sometimes a laugh makes swallowing a big dose of outrage a little easier.

Edge of Tomorrow repeats itself without being repetitive, takes itself seriously while providing some laughs and offers plenty of action without short-changing us on the intelligence front.

Gordon-Levitt has been so terrific for a while now that he's become a magnetic presence; Willis is also on a nice streak, not as strong here as in "Moonrise Kingdom," but still quite good.

Everyone in the film is good. Offerman and Megan Mullally (as the principal at Kate's school) do well in more-dramatic roles than we're used to seeing them in. Mary Kay Place is harrowing without meaning to be as Kate's mother. [25 Oct 2012]