A clever thriller with a lot of unbelievable scenes and a sappy ending, but two wonderful performances.

While not all the pieces of the puzzle perfectly fit into place, it’s still a good yarn filled with arresting visuals and solid performances.

We think of first love as sweet and valuable, a blessed if hazardous condition. This film, deeper than it seems, dares to suggest that beyond a certain point, it can represent a tragedy.

While A Tale of Love and Darkness is often difficult to watch — because of all the sadness it presents — it is also a beautiful film in that it makes us think about existing in a world where we do not completely fit in.

There are some one-liners that zing not only with humor but truth. On the whole I was satisfied.

A good movie, fearless and true, observant and merciless. Naomi Watts was brave to make it and gifted to make it so well.

The movie surprised me. It treats its disabled characters with affection and respect, it has a plot that uses the Special Olympics instead of misusing them, and it's actually kind of sweet.

Paul and young Danny Murphy are terrific together, with Paul playing a wounded bear growling his lines and Murphy delivering a fully realized performance. And for such a bleak and harsh tale, The Parts You Lose finds some rays of light at the end of the night.

For all its academic precision and fact-based reportage, “Downfall: The Case Against Boeing” is at its most effective when we hear from the parents, the grown children, the widows, who had to receive the worst news anyone could ever imagine. This is when “Downfall” reminds us of the real costs of those two terrible tragedies.

Like Crazy is a well-made film. The scenes showing Jacob and Anna falling in love have a freshness, and I learn Doremus handed his actors an outline and together they improvised every scene. Some of the whispered endearments under the sheets are delightful.

If there’s such a thing as a Cold War Comfort Movie and let’s say there is, The Courier fits the bill perfectly, ticking off many of the familiar boxes of the genre.

It looks fabulous, it uses special effects to create a new world of its own, but it is thin in its human story.

Any laughs that it inspires will be very hollow. It's more of a celebration of madness and doom, with a hero who tries to prevail against the chaos of his condition, and is inadequate.

My only complaint is that its plot flatlines compared to the 1979 version, which was trickier, wittier and smarter. Romero was not above finding parallels between zombies and mall shoppers.

Edmands avoids the in-your-face emotional punch that most filmmakers would employ (police, lawsuits, confrontation) and instead opts for a more delicate, observational pacing, creating a set of vignettes that give a stark glimpse into these disrupted lives.

The problem is that the film is at such pains to make its points that it doesn't trust us to find our own connections.

I would have loved to eavesdrop on the script conferences for "Innerspace." Here is an absurd, unwieldy, overplotted movie that nevertheless is entertaining - and some of the fun comes from the way the plot keeps laying it on.

Good Kill is never subtle and occasionally veers into implausibility....But the visuals pack a visceral punch.

An entertaining family movie, and may serve a useful purpose if it inspires kids to overthrow their coaches and take over their own sports.

The jaw-dropping visuals and pulse-pounding sound editing in Dennis Villeneuve’s stunningly gorgeous Dune are so awesome it makes up for the slow-moving and quite familiar storyline, which is basically the New Testament meets Mad Max meets Star Wars.

The movie lacks the wit and self-mocking irony of the Indiana Jones movies, and instead seems like a throwback to the simple-minded, clean-cut sensibility of a less complicated time. That doesn’t mean The Rocketeer is not entertaining. But adjustments are necessary to enjoy it.

Some of the political undertones may go astray, but the emotional center of the film is touching and honest.

By the film's end, I found myself simultaneously hoping that ESU would win its big game, and that the school would pull the plug on its football program. I guess that's how I was supposed to feel.

Still, in large part due to the stellar work from Depp and Whitaker, this is a valuable and somewhat illuminating look back at the senseless, stunning killings of two rap icons just six months apart.

What a magnificent presence is J.K. Simmons. What an authentic, weathered, world-weary face he has. What a tremendous gift he has for conveying so much with such little dialogue in the stark and unsettling I’m Not Here.

The performance by Ross invests Jessie with a kind of zealous hope that is touching: Here is a slutty loser touched by the divine, and transformed.

This is not a perfect movie; it's so ragged, it's practically constructed of loose ends. But it's exciting because it ventures so far off the map.

Just when you think “The Greatest Hits” has painted itself into a corner, the script finds a way and the story lands in just the right place.