Tom Cruise might have saved his family from apocalypse. But Owen Wilson and Vince Vaughn have just saved our summer.

Another gorgeous and immensely satisfying reminder that there are few better directors than Téchiné when it comes to capturing the vagaries of the heart.

The movie works.

Recedes to a string of mere action exploits. These are proficiently executed but, for all their visual authority, not much more than routine.

Acridly funny.

Yet Crudup does good, mercurial work despite a silly surfer-dude haircut.

At its core, a perceptive satire of the interpersonal boiling points in buddy-cop pictures.

Yet for all the love emanating from client-pals Michael Douglas, Sylvester Stallone, Emeril Lagasse, and Steven Tyler, there’s a sadness to this movie that remains just off camera.

The Traitor is a coolly epic appraisal of a country’s struggle with its dark side rather than a mobbed-up melodrama. If it’s “Godfather” clichés you want, there’s always “The Godfather.”

Thumbs up for Denzel; send the rest of this movie to the lions.

This is an inept and unsubtle romantic fantasy about how black people and white people don't mix.

It’s a shame: Odenkirk begins the movie with a rep as a smart and slippery performer, but by the end of Nobody, he could be anybody.

While Harrison Ford brings all you could hope for to the role of Clancy's hero, CIA analyst Jack Ryan, Patriot Games is a pretty routine, generic and on the whole pedestrian film. Considering the talent and obvious care taken, it's surprisingly flavorless. [5 June 1992, p.25]

Gibney lays out the full picture, availing himself of terrific concert footage, archival materials, and interviews with Fela’s colleagues and family members (including eldest son and musical heir Femi Kuti). The portrait that emerges is of a larger-than-life personality who seems to have been closer to those who didn’t know him than those who did. (Again, much like Brown.)

Well-meaning but trying documentary.

It’s an understatement to say that Tcheng is drawn to this material. He revels in it. Yet he’s too clear-eyed to turn Halston’s story into a morality tale.

Greenland, a solid, stolid disaster film arriving on major streaming platforms this week, posits that the sky is falling, puts manly Gerard Butler in the middle of it, and asks us to be diverted by the spectacle of civic breakdown and mass panic. Are you not entertained? Somewhat surprisingly, yes.

Fans of Lanthimos’s works outside his Emma Stone movies will find “Kinds of Kindness” worth watching. As for the rest of us: You’ll start out clapping along with “Sweet Dreams,” but by the end, you’ll be singing Peggy Lee’s immortal question, “Is That All There Is?”

The movie has a curious and cumulative power.

It overuses ’80s nostalgia as shorthand for genuine emotional involvement, and it presents us with a rapturous digital wonderworld only to sternly lecture us that reality is the better value.

Even as a romantic confection it would soar higher, glow brighter, if it had permitted itself some texture, some bite. It's too simply emblematic to muster all the magic it needs, even though it has a pair of utterly winning performances by Nicolas Cage and Bridget Fonda. [29 July 1994, p.53]

Proof is proof that you can drain most of the juice out of a play and still have an enjoyable night at the movies.

This is one of those rare movies that genuinely likes its characters and wishes them the best; as agonizing as it can be to watch Jack fumble toward human connection, Hoffman knows the fumbling's the point.

The Muppet Christmas Carol plays like an overextended rerun of a not-quite top-drawer Muppet show. [11 Dec 1992, p.53]

The animation techniques are sophisticated but the story tends to get bogged down in pop philosophy. [01 Mar 2015, p.N]

Café Society is a romantic comedy where the romance is lackluster and the comedy an afterthought.

All Peter Pan lacks is a Peter Pan with any discernible personality, no matter that Jeremy Sumpter is the first actual, genetic boy to play the role on film.

Seems calculated to shock, but what’s most disquieting about Nymph()maniac is how funny, tender, thoughtful, and truthful it is, even as it pushes into genuinely seamy aspects of onscreen sexuality. Obnoxious he may be, but von Trier knows how to burrow into our ids.