For all its moodiness and melancholy, Logan is also a rip-roaring action film — and it’s wickedly funny at times as well.

I can say that if you liked the other Indiana Jones movies, you will like this one, and that if you did not, there is no talking to you.

The training sequences are as they have to be: incredible rigors, survived by O'Neil. They are good cinema because Ridley Scott, the director, brings a documentary attention to them, and because Demi Moore, having bitten off a great deal here, proves she can chew it.

Landline is a very funny film about people dealing with very serious situations.

It’s a carefully crafted, almost reverential character study of man and music Hawke clearly and greatly admires.

Here is a film that uses very good actors and gives them a lot of improvisational freedom to talk their way into, around and out of social discomfort. And it's not snarky. It doesn't mock these characters. It understand they have their difficulties and hopes they find a way to work things out.

Nearly every scene takes a sideways turn, and nearly every expectation we have doesn’t work out the way we anticipate it working out, and that’s what makes the journey so much fun.

I Will Follow doesn't tell a story so much as try to understand a woman. Through her, we can find insights into the ways we deal with death.

Presumed Innocent has at its core one of the most fundamental fears of civilized man: the fear of being found guilty of a crime one did not commit. That fear is at the heart of more than half of Hitchcock's films, and it is one reason they work for all kinds of audiences. Everybody knows that fear.

Damon’s everyman workhorse is tragically sympathetic, plodding ahead against all odds. Copley is brilliant as the sadistic villain. Foster is … well, you gotta see it to believe it. In the meantime, you’ll be treated to one of the most entertaining action films of the year.

What is best about A Mighty Heart is that it doesn't reduce the Daniel Pearl story to a plot, but elevates it to a tragedy. A tragedy that illuminates and grieves for the hatred that runs loose in our world, hatred as a mad dog that attacks everyone. Attacks them for what seems, to the dog, the best of reasons.

The Girl Who Played With Fire is very good, but a step down from "The Girl With the Dragon Tattoo," if only because that film and its casting were so fresh and unexpected.

A well-crafted family thriller that is truly scary and doesn't wimp out.

Clash of the Titans is a grand and glorious romantic adventure, filled with grave heroes, beautiful heroines, fearsome monsters, and awe-inspiring duels to the death. It is a lot of fun.

Barthes takes her notion and runs with it, and Giamatti and Strathairn follow fearlessly.

Nick Nolte plays a great shambling wreck of a wounded Hemingway hero in The Good Thief, a film that's like a descent into the funkiest dive on the wrong side of the wrong town.

Even with a coked-up George Carlin (a spot-on Matthew Rhys) and the ubiquity of marijuana and the hard-R language, “Saturday Night” is a smooth and polished gem — a far cry from the spirt of raw anarchy permeating the birth of the series.

After spending a bit too much time taking us through the all-too-familiar chapters of Elvis’ career, from his embrace (and yes, appropriation) of Black music to his ascension to stardom to the Army stint to the movie career that turned him into a caricature, “Return of the King” soars in the final segments, as we see Elvis rise to the challenge and achieve greatness in the live-on-tape performance.

Nearly every step of the way, Stargirl finds just the right notes to find the right side of the line between precious and lovely, between arbitrary and plausible, between serendipitous and condescendingly magical.

This is a very promising first feature by Eggers and showcases some exceptional acting.

Like "Finding Nemo," this is a movie that is a joy to behold entirely apart from what it is about. It looks happy, and, more to the point, it looks harmonious.

One of those comedies where everything works.

Sandler gives one of his most authentic performances.

Nearly every scene is contrived, but Melfi has a nice way with dialogue, and the cast is uniformly outstanding.

We're fully aware of the plot conventions at work here, the wheels and gears churning within the machinery, but with these actors, this velocity and the oblique economy of the dialogue, we realize we don't often see it done this well. Silver Linings Playbook is so good, it could almost be a terrific old classic.

Thanks to the superb screenplay by Craig Borten and Melisa Wallack and the brilliant, brave performances by the cast, Dallas Buyers Club gets just about everything right, save for a few over-the-top scenes that hammer home points that have already been made.

Tells a story we think we already know, but we're wrong: It has new things to say within an old formula.

One of the pleasures of Fiennes' film is that the screenplay by John Logan ("Hugo," "Gladiator") makes room for as much of Shakespeare's language as possible. I would have enjoyed more, because such actors as Fiennes, Vanessa Redgrave and Brian Cox let the words roll trippingly off the tongue.