Writer-director Caroline Link (who did the Oscar-nominated "Beyond Silence") adapted Stefanie Zweig's expatriate memoir gracefully, languidly and with full understanding of its heroine.

Super 8 takes its place among the best B-grade science fiction movies of this generation by copying the best of the past 50 years.

It’s the first Pixar effort that feels less like a creative outpouring and more like an obligation met to satisfy a distribution schedule.

The movie seemed a disappointment at first, until I decided I was missing the point: It’s actually a drama about the way people treat a celebrity – with fear or reverence, as a source of income or reflected glory– and the way their own personalities change around him, while his stays the same. In that way, the film’s a small triumph.

Madden has the wisdom to give most of the heavy emotional lifting to Mirren, who continues to shine at the age of 66.

Reflective, deliberate, building gradually to a climax that left me touched.

Roger Deakins, probably the best living cinematographer never to win an Oscar (he’s 0-for-10), was behind the camera. So the picture never lets us down visually, even when the story occasionally strays.

Like "Shattered Glass," the other picture Billy Ray directed, Breach probes a guilty mind and reveals how he baffled people. We get a Hitchcock-like pleasure from knowing the protagonist is guilty and watching other shocked characters realize his wickedness.

The film seems like a loose and uncredited updating of "The Great Man Votes," a more serious 1939 entry.

Zach Braff, who shot the film near his hometown of South Orange, N.J., directed this drama with subtle flair and wrote a star part that perfectly fit his acting range.

Try as he might, (Hanks) is miscast in Road to Perdition, a partly satisfying gangster drama that amounts to less than the sum of its handsome parts.

Jim Broadbent is the wild card in the cast; he screeches and growls his way through Madame Gasket's lines in the best traditions of British drag.

It never commits the sin of sentimentalizing old age, as Hollywood usually does when it deigns to admit that people over 55 exist.

If you used this guy's umbilical cord for fishing line, you could land a world-record marlin.

Cohen and his gang are smart enough to know when to quit. Like a loud but amusing guest at a dinner party, Borat collects his coat and goes home just as his hosts are starting to fidget.

The slender story seems overextended at times, with Lu finding new ways each week to insinuate himself into Yu’s life. Zhang doesn’t make a point once if he can make it twice, and the characters don’t change much over the middle hour.

Anonymous is fun – if you take the anti-Shakespearean tale as events set in an unreal, alternate universe.

Bogdanovich adds touches to appeal to serious film fans.

Will Ferrell strides through Elf like a crazily cheerful wind-up toy: arms swinging, legs stiff, mouth fixed in an impossibly happy grin, eyes wide with wonder. He's the Christmas gift nobody thought to ask for but everybody will want to play with.

This loose, slightly lazy sequel is both funnier than the original and more bizarre.

Nobody smells of sagebrush, campfire coffee, tobacco (smoked or chewed) and saddle soap like Duvall.

Bardem delivers the kind of performance the director might have given himself: subdued, thoughtful, wry, sometimes a bit too detached.

Hanks gives one of his least showy and most credible performances.

The movie comes off as Zootopia without social commentary or nearly as much imagination.

One of those rare action comedies that actually delivers action and comedy.

The film whirls by in a satisfying torrent of chases, escapes and discoveries.

It warms the heart in the hands of such sensitive storytellers.

He presides over the picture with such assurance that even longtime Denzel-watchers gape.