The movie delivers all too well on its promise to show us dinosaurs. We see them early and often, and they are indeed a triumph of special effects artistry, but the movie is lacking other qualities that it needs even more, such as a sense of awe and wonderment, and strong human story values.

There’s something wonderful, albeit borderline shameless, about a movie that gives Billy Crystal a hall pass to indulge his corniest instincts, from his character’s gimmicky hat to his karaoke scenes to his baseball-influenced memories.

A sad and painful documentary that serves little useful purpose other than to pound another nail into the coffin. Here is a gifted actor who apparently by his own decision has brought desolation upon his head.

I have a feeling the loss of their child and the state of their marriage were what most interested the backers of this film. They must have wanted to make a film about Darwin the man, not Darwin the scientist.

This is a hot modern martial art. Not only do the shots look convincing, not only are they held long enough to allow us to see an entire action, but Belle in real life does a version of this stuff.

It is not the film you think it is going to be. You walk in expecting some kind of North Beach weirdo and his wild-eyed parrot theories, and you walk out still feeling a little melancholy over the plight of Connor.

Lacks any formulas or solutions, and is content to show us its complicated characters, their tangled lives, and the way that our need to love and be loved can lead us in opposite directions.

It's remarkable, a war story told as a chess game where the loser not only dies, but goes by necessity to an unmarked grave.

Family Business tries to play it down the middle, when it probably should have jumped in one direction or the other, toward a pure caper or toward a family drama.

Prince Avalance is frequently funny in a subdued sort of way, but it’s primarily contemplative and eventually intimate.

The film is warm and intriguing, and he (Valentin) is the engine that pulls us through it. We care about what happens to him; high praise.

The plot is a little of Fatal Attraction, a little of Jagged Edge and a little of Wall Street. It works because it's so audacious in combining elements that don't seem to belong together.

The Night They Raided Minsky's is being promoted as some sort of laff-a-minit, slapstick extravaganza, but it isn't. It has the courage to try for more than that and just about succeeds. It avoids the phony glamour and romanticism that the movies usually use to smother burlesque (as in "Gypsy") and it really seems to understand this most-American art form.

Writer-director-star Cooper Raiff’s smart and charming and delightfully offbeat Cha Cha Real Smooth is a movie very much of the present day, but there’s something almost nostalgic about the self-consciously indie material in that it reminded me of somewhat similarly themed gems such as “Rushmore” (1998), “Igby Goes Down” (1998) and “Tadpole” (1998) — and all of these films are generational descendants of “The Graduate” (1966).

Not as inspired as "Who Framed Roger Rabbit" but in the same spirit. It's goofy fun. Or maybe we should make that daffy fun.

It is the craftsmanship that elevates One True Thing above the level of a soaper.

The movie's strength is not in its story but in its unsettling and weirdly effective visual and sound style. (Review of Original Release)

Coco Chanel & Igor Stravinsky concerns a love affair between two irresistible forces who have never met an immovable object before.

Here is a movie that makes you want to do something. Cry, or write a check, or howl with rage.

Forget the plot. The movie is really about Steve and Terri taking us on a guided tour of the crocs, snakes, deadly insects and other stars of the outback fauna. Steve's act is simplicity itself.

The movie evokes that long-ago world carefully and with a certain poetry; it was shot in the Dominican Republic. There is a lot of music, much of it from the period and performed by the same musicians or their successors.

Nastassja Kinski, in one of her most affecting performances, does much to convey the turmoil going in her soul.

The movie is, in short, your money's worth, better than we expect, more fun than we deserve.

The movie plays out like a thrift-store version of Adam McKay’s “The Big Short,” in that it takes us through the looking glass into a world so complex and nebulous, even the major players sometimes seem utterly befuddled — but does so as if we’re taking a thrill ride in a Financial Theme Park.

A sweetheart of a film, whimsical and touching. It positions itself somewhere between a slice of life and a screwball comedy.

Adult World does have some smart, funny and wincingly painful things to say about the desire to make art vs. the desire to be famous for it.

This powerful and well-acted story might have been much more effective if told in strictly linear fashion.

Poltergeist is an effective thriller, not so much because of the special effects, as because Hooper and Spielberg have tried to see the movie's strange events through the eyes of the family members, instead of just standing back and letting the special effects overwhelm the cast along with the audience.