This is an old-fashioned and borderline corny biopic that looks like it could have been made 40 years ago — but it’s also a true-life story about a man who denounced his racist lineage and dedicated himself to the cause, a man who is still with us today, and it’s a story well worth telling.

The Great Waldo Pepper is a film of charm and excitement, a sort of bittersweet farewell to a time when a man with an airplane could make a living taking the citizens of Nebraska on their first fiveminute flights.

What we have here is basically two hours of inventive, colorfully imagined entertainment, with the Brinks job laid on top: A movie-movie, so to speak, and fun from beginning to end.

This movie is knowledgeable about the city and the people who make accommodations with it.

The best reason to see it is simply because of the creativity of its visuals. They're entrancing.

The movie is never quite bold enough to point out the contradiction of Muslims and Christians hating one another, even though they both in theory worship the same god.

It's more of a melodrama, a film that doesn't say priests are bad but observes that priests are human and some humans are bad.

The movie is pieced together out of uneven footage, and the idea of a documentary seems to have occurred in the midst of filming.

The machinery in this movie is so efficient that we don't know the answer until the very last shot.

This is yet another meta story with the characters commenting on the story as it goes along, and while that gimmick is becoming tiresome, this is solidly constructed piece of lightweight entertainment with terrific period-piece costumes and sets, and suitably theatrical performances from a talented cast that is clearly enjoying itself while delivering a quality spoof.

Masterson, like many actors, is an assured director even in her debut; working with her brother Pete as cinematographer, she creates a spell and a tenderness and pushes exactly as far as this story should go.

Jeremy Renner doesn’t put much movie-star mustard on his performance as a newspaper reporter in Kill the Messenger, and that’s one of the reasons the work is so strong.

A whimsical comedy, very whimsical, depending on the warmth of Segal and Sarandon, the discontent of Helms and Greer, and still more warmth that enters at midpoint with Carol (Rae Dawn Chong), Sarandon's co-worker at the office.

Breathe In is all simmer, no boil, despite an abrupt, overwrought, agonizing emotional climax that’s too much, too late.

This is a movie in the true tradition of film noir -- which someone who didn't write a dictionary once described as a movie where an ordinary guy indulges the weak side of his character, and hell opens up beneath his feet.

It has charm, a sly intelligence, and the courage to go for special effects sequences.

It shares one annoying practice with their other early films: They like to use distracting little zooms in and out for no reason at all, except possibly to remind us the film is being shot with a camera.

Not even the star power of Clooney and Pitt can elevate this beyond the level of a passable, disposable thriller.

There is a real terror in the faces of these kids as they realize that people have died, that guns kill, that your life can be ruined, or over, in an instant.

The great Bryan Cranston sinks his teeth into the title role and chews the scenery with such gusto I half-expected him to spit out a chunk of period-piece furniture before we were through. There’s a lot of ham and cheese in the performance, but it’s great fun to watch.

As a drama about the ravages of mental illness, the movie works; too bad most of the critics read it only as a romantic soap opera in which the hero is an obsessive sap. They read the signs but miss the diagnosis.

It's nice, but it's not much of a comedy.

The important thing about "The Importance" is that all depends on the style of the actors, and Oliver Parker's film is well cast.

A movie with the nerve to end with melodramatic sentiment--and get away with it, because it means it. Expect lots of damp eyes in the audience.

The Clearing doesn't feel bound by the usual formulas of crime movies. What eventually happens will emerge from the personalities of the characters, not from the requirements of Hollywood endings.

It’s a sharply honed, darkly funny, ultra-violent and wildly entertaining late 1960s period piece about the making of future made man Tony Soprano, the early criminal escapades of many key characters from the HBO series — and the blood oaths and ruthless betrayals that would set the checkered table for virtually everything that would happen to the Sopranos, their extended family and their associates some three decades later.

One question is not addressed by the movie: Why were the children deported in the first place? Yes, we know the "reasons," but what were the motives?

While both have Broadway-level pipes, neither has a particularly distinctive, knock-it-out-of-the park voice. It doesn’t help that the songs, while solid, become repetitive in melody. And there’s not a home run in the bunch. I walked out humming … nothing from this movie.