Neeson is in nearly every scene in the movie, and he carries it well. Yes, he’s played this nails-tough, world-weary, scotch-loving, ex-law enforcement type again and again — but he’s as good as anyone in the world at playing those types, and in this case he has some rich material to work with.

Comedies open every week. This is the kind I like best. It grows from human nature and is about how people do their jobs and live their lives.

The screenplay by Jim McGlynn, which plays a little like something Eastwood might have made, is subtle and observant; there aren't big plot points, but lots of little ones, and the plot allows us the delight of figuring out the scams. [25 Apr 1997]

This whole movie is about manners. There is sex and violence, but the movie is not about giving in to them; it's about carrying on as if they didn't exist.

This is a grown-up movie, in its humor and in its wisdom about life. You need to have lived a little to understand the complexities of Tobias Allcott, who is played by James Coburn with a pitch-perfect balance between sadness and sardonic wit.

The real reason to see this movie, though, is because it makes a big yacht race seem so glorious, such grand adventure. Ballard is a former cinematographer with a knack for visualizing the outdoors.

Tired, uninspired and meandering, Wrath of Man is a step backward for Ritchie, a step sideways for the stoic-for-life Jason Statham (reteaming with Ritchie for the first time in 16 years) and a misstep for anyone who invests their time and money on 118 minutes of such convoluted and forgettable nonsense.

As a movie, Today's Special is only just OK. What saves it, as it saves so very many things, is the garam masala.

Last Chance Harvey is a tremendously appealing love story surrounded by a movie not worthy of it.

Funny and dirty in about that order.

Movies like Mama are thrill rides. We go to be scared and then laugh, scared and then laugh, scared and then shocked. Of course, there's almost always a little plot left over for a sequel. It's a ride I'd take again.

Despite Redford's sure-handed (but typically stolid) direction, an intriguing premise and a cast filled with top-line talent both veteran and relatively new, nearly every scene had me asking questions about what just transpired when I should have been absorbing what was happening next.

Here is a perplexing and frustrating film, which works with great skill to involve our emotions, while at the same time making moral and racial assertions that are deeply troubling.

The bottom line: I am convinced this message is true.

Them That Follow is a harrowing and chilling deep dive into an isolated community in the Appalachian mountains.

After the fires, explosions, chase scenes, shootouts, ambushes and dead bodies, the movie's human story seems sort of lonely and forlorn. Maybe there was some kind of satirical purpose in surrounding the people with so much activity. I dunno. But the extra ingredients make a potentially better movie into a confused, overloaded and disjointed one.

Essentially just a promotional film for Jordan as a product. It plays like a commercial for itself.

Will this movie change anything, or this review make you want to see it? No, probably not. But when you come in tomorrow morning, someone will have emptied your wastebasket.

Not a great movie, but it has moments that go off the meter and find visceral impact. The characters driving through the riot-torn streets of Los Angeles provide some of them, and the savage, self-hating irony of Russell's late dialogue provides the rest.

Alda gives the film's strongest performance. Kinnear, often a player of light comedy, does a convincing job of making this quiet, resolute man into a giant slayer.

In medieval times, the nobility enjoyed something called droit du seigneur, their right to deflower their serfs' virgin daughters before their marriage. These days the nobility has been replaced by billionaire bullies, who continue to screw us serfs.

There's funny stuff here. We like everybody.

I should have brought a big yellow legal pad to the screening, so I could take detailed notes just to keep the time-lines straight. And yet the movie is fun, mostly because it's so screwy.

This is one of the better intimate dramas of the year.

The problem with "Nicholas and Alexandra" is that it considers the Russian Revolution from, in some ways, the least interesting perspective.

Cahill has not only made a thoughtful and compelling movie about science, but he’s also given us an intriguing story that delves into the age-old debate of faith vs. hard proof involving the possibility of a higher spiritual power.

There’s not too much sentiment, but not too little, either. Just enough to make you feel misty-eyed in a way that doesn’t necessarily indicate incipient glaucoma.

That the new Casanova lacks such wit is fatal. Heath Ledger is a good actor but Hallstrom's film is busy and unfocused, giving us the view of Casanova's ceaseless activity but not the excitement. It's a sitcom when what is wanted is comic opera.