This isn’t the greatest Marvel movie ever made, but it’s definitely one of the funniest — and one of the sweetest.

Learning of this story, I thought, aw, come on, give me a break. But it turns out the story is not only based on fact, but the actual dolphin involved, named Winter, stars in the movie as herself. Her new tail functions admirably.

The performances are pitch perfect, even including Gabriel Chavarria as Ramon, the man who steals the truck. It adds an important element to the film that he embodies a desperate man, not a bad one.

Movies like this are more or less impervious to the depredations of movie critics. Either you laugh, or you don't. I laughed.

Gretchen Mol is finally the key to the mysterious appeal of the film, to its sweetness and sadness.

There’s not a single character in this film that doesn’t come across as authentic.

We know exactly where this story is going, and we're happy to come along for the ride.

In observing the reality of this relationship, Wang contemplates the "generation gap" in modern societies all over the world. His film quietly, carefully, movingly observes how these two people of the same blood will never be able to understand each other, and the younger one won't even care to.

Clockwatchers is a wicked, subversive comedy about the hell on earth occupied by temporary office workers.

Ghost movies like this, depending on imagination and craft, are much more entertaining than movies that scare you by throwing a cat at the camera.

Watching the film, I thought of Michael Powell's great 1960 British thriller "Peeping Tom," which was about a photographer who killed his victims with a stiletto concealed in his camera. Sy uses a psychological stiletto, but he's the same kind of character.

There has never been a movie quite like Northfork… The movie is visionary and elegiac, more a fable than a story, and frame by frame, it looks like a portfolio of spaces so wide, so open, that men must wonder if they have a role beneath such indifferent skies.

Those who deplore Beavis and Butt-Head are confusing the messengers with the message.

It might be another 30 years before we get the next “Fletch,” but if Hamm is up for a repeat appearance, I’d be more than pleased to come along for the ride.

This movie will no doubt be pitched to the same audiences that loved "The Best Exotic Marigold Hotel." It even brings Maggie Smith along. But it lacks that film's life, intelligence and spirit. It has a good heart. I'll give it that. Maybe what it needs is more exotic marigolds.

A magnificent science-fiction film, all the more intriguing because it raises questions about the origin of human life and doesn't have the answers.

Abandon your expectations of an orderly plot, and you'll end up humming the title song. The movie's a vast, rambling, nostalgic expedition back into the big band era, and a celebration of the considerable talents of Liza Minnelli and Robert De Niro.

It is straightforward, heartfelt and genuine.

Working with an economical running time of 100 minutes and a relatively modest budget, Hart infuses Fast Color with genuinely moving drama, an engrossing, supernatural-sci-fi mystery and some pretty darn impressive special effects.

The charm of Goon is that Doug Glatt (Scott) is a genial guy from a nice family. Just because he hands out concussions doesn't mean he dislikes anybody. He's just happy to be wearing a uniform.

The French Lieutenant’s Woman is a beautiful film to look at, and remarkably well-acted.

Sellers works. He develops a character and plays it, for better or worse, for the whole movie.

Rahimi simply made an inspired decision when he chose Farahani...who quietly but powerfully works her way through subtle shadings of emotion from fear to despair to anger to love to righteous vindication.

Janeane Garofalo in this movie... is so likable, so sympathetic, so revealing of her character's doubts and desires, that she carries us headlong into the story.

Bourdos’ high-minded aspirations are obvious, but his visually satisfying film is dramatically elusive.

I see so little there: It is all remembered rote work, used to conceal old tricks, facile name-calling, the loss of hope, and emptiness.

Remarkable, how in a film where we KNOW with an absolute certainty that all or most of the dogs must survive, Eight Below succeeds as an effective story. It works by focusing on the dogs.

While there’s a whole lot of fiction in this based-on-real-events tale, the essence of truth rings through.