Yet Love! Valour! Compassion! has power and insight, and perhaps what makes it strong is its disinterest in technical experiments: It is about characters and dialogue, expressed through good acting--the very definition of the "well-made play."

When politics do not create walls (as apartheid did), most people are primarily interested in their families, their romances, and their jobs. They hope to improve all three. The movie is about their hope.

Intelligent and subtle.

As a period biopic, J. Edgar is masterful. Few films span seven decades this comfortably.

Walter Hill's Streets of Fire begins by telling us it's a rock & roll fable ... from another time, another place. The movie is right on the rock & roll, but the alternative time and place are mysteriously convincing -- especially if, like me, you believe the most beautiful post-war American cars were Studebakers.

Mr. Peabody & Sherman” is a whip-smart, consistently funny and good-natured film with some terrific voice performances and one of the most hilarious appearances ever by an animated version of a living human being.

The best parts of this sweet film involve the middle stretches, when time, however limited, reaches ahead, and the characters do what they can to prevail in the face of calamity. How can I complain that they don't entirely succeed? Isn't the dilemma of the plot the essential dilemma of life?

Whatever its deficiencies, there's no downplaying the emotions of parting with Ripley. So much attention is paid to the special effects in movies like these, Weaver's accomplishment in developing, deepening and richly glorifying her character stands to be underestimated. [22 May 1992, p.51]

Sometimes The Railway Man is hard to watch. It’s also hard to imagine anyone watching it and not being deeply moved.

The film looks great, the songs are wonderfully visualized, and the characters are appealing.

The result is a movie character who seems half real, half animated.

What they've done here is to recapture not only the look and the storylines of old horror comics, but also the peculiar feeling of poetic justice that permeated their pages. In an EC horror story, unspeakable things happened to people - but, for the most part, they deserved them.

Thanks to the sure-handed, fast-paced work and creative framing by director Michael Showalter (an alum of “The State” who helmed the Nanjiani-starring “The Big Sick”); a clever screenplay by Aaron Abrams and Brendan Gall, and the impeccable comedic timing of Nanjiani and Rae, The Lovebirds is one of the funniest movies of 2020.

Richard Dreyfuss, who is sometimes too exuberant, here finds the right tones for Mr. Holland, from youthful cocksureness to the gentle insight of age. His physical transformations over 30 years are always convincing.

On the Basis of Sex is almost always solid. But “solid” is about as high as it goes.

Even though it feels as if we’ve seen this movie before, Run All Night is a stylish and kinetic thriller, with Neeson at his gritty, world-weary best, some of the coolest camera moves in recent memory and a Hall of Fame villain in the great Ed Harris.

Finian's Rainbow is the best of the recent roadshow musicals, perhaps because it's the first to cope successfully with the longer roadshow form.

This is an atmospheric, intense film, well acted, and when it's working it has a real urgency.

The movie is nice to look at, the colors and details are elegant, the animals engaging, the action fast-moving, but I don't think older viewers will like it as much as the kids.

Mantegna gives us just enough detail, enough exterior shots, so that we feel we're on a ship. All the rest is conversation and idleness. The lake boat is a lot like life.

American teenage movies tidy things up by pairing off the right couples at the end. In Europe they know that summers end and life goes on.

The work of a born filmmaker, able to summon apprehension out of thin air.

There is an underlying likability to Austin Powers that sort of carries us through the movie.

I admired Intacto more than I liked it, for its ingenious construction and the way it keeps a certain chilly distance between its story and the dangers of popular entertainment.

From start to finish, this film seems strangely out of touch, never more so than when it tries to come across as enlightened.

For the bulk of the ride, it’s a wickedly funny interpretation of the one of the great confounding moments in American pop culture and political history.

A featherweight comedy balanced between silliness and charm.

Cars 3 is a lovely, clever and entertaining generational tale with tons of heart, a simple and effective storyline, wonderful candy-colored visuals and winning voice work from the talented cast of returning regulars and welcome newcomers.