There is no mechanical plot that has to grind to a Hollywood conclusion, and no contrived test for the heroes to pass; this is a movie about two particular young men, and how they pass their lives.

Seeps with melancholy, old wounds, repressed anger, lust. That it is also caustically funny and heartwarming is miraculous.

This is one of the year's best films.

In Till, we see how Emmett had music in his heart and a bounce in his step and was just beginning his life’s path when monsters came calling in the middle of the night — and we’re once again filled with admiration for Mamie Till-Mobley, who made sure we never forgot.

The film is told almost entirely without dialogue, but is alive to sound; we spend observant, introspective hours in a Hungarian hamlet where nothing much seems to happen -- oh, except that there's a suspicious death.

Hard-boiled, filled with action, held together by male camaraderie, directed with a lean economy of action. It's one of the most expensive B-pictures ever made, and I think that helps it fit the subject. "A" war movies are about War, but "B" war movies are about soldiers. (Review of Original Release)

Bernardo Bertolucci's Last Tango in Paris is one of the great emotional experiences of our time.

Ten minutes into Lombroso’s film, it’s painfully clear these are people with ugliness in their hearts and dangerously racist ideas. But there’s value in seeing these how these hate hucksters operate and going behind the curtain to see how small they really are.

The darkly beautiful sci-fi film manages to feel bold and original while paying homage to countless great movies.

The cast is excellent because it understands the material, and sympathizes with it: James Stewart, as the doctor, and Lauren Bacall, as the widow, play scenes with Wayne that absolutely make us forget we're watching a movie.

It’s a solid, entertaining, well-paced sequel featuring terrific voice work, a clever script and some ingenious action sequences. It just doesn’t quite reach the soaring heights of inspirational storytelling and elevated humor of the original.

It is just plain talky and boring. You know there's something wrong with a movie when the last third feels like the last half.

The movie is, indeed, perhaps the most believable that Herzog has made. For a director who gravitates toward the extremes of human behavior, this film involves extreme behavior, yes, but behavior forced by the circumstances.

No Way Out is a superior example of the genre, a film in which a simple situation grows more and more complex until it turns into a nightmare not only for the hero but also for everyone associated with him. At the same time, it respects the audience's intelligence, gives us a great deal of information, trusts us to put it together and makes the intellectual analysis of the situation one of the movie's great pleasures.

Whether the protest movement hastened the end of the Vietnam War is hard to say, but it is likely that Lyndon Johnson's decision not to run for re-election was influenced by the climate it helped to create.

Sleeper establishes Woody Allen as the best comic director and actor in America, a distinction that would mean more if there were more comedies being made.

This is a portrait of tunnel vision. Jiro exists to make sushi. Sushi exists to be made by Jiro.

Burden of Dreams gives us an extraordinary portrait of Herzog trapped in the middle of one of his wildest dreams.

This is a tense, nerve-wracking thriller of the mind, with first-rate performances by Bateman, Hall and Edgerton — a tightly spun thriller with a wicked sense of humor and a wonderfully warped take on long-range karma.

Tatum O’Neal creates a character out of thin air, makes us watch her every moment and literally makes the movie work.

The violence in this movie is gruesome (a scene involving the disposal of bodies is particularly graphic). But the movie has many human qualities and contains what will be remembered as one of Pacino's finest scenes.

The end of the film understandably lays on the emotion a little heavily, but until then Courage Under Fire has been a fascinating emotional and logistical puzzle--almost a courtroom movie, with the desert as the courtroom.

It seems to me that Campbell has a good case here--good enough, anyway, to convince the judges on the African court.

The filmmakers behind Paddington successfully bring the lovable bear into the future and strike a balance between honoring the spirit of the original books and updating the story for today’s young audiences. This is a charming film whose underlying message of tolerance and acceptance strikes a palpable chord in today’s world — both for children and adults.

Though the subject matter is intense and shocking, the intuitively sensitive and subtle Polley teams with a brilliant ensemble cast to tell the story with grace and empathy and even some much-needed doses of earned humor. It’s a film you won’t soon forget.

Mississippi Grind is the cinematic equivalent of the unassuming, quiet player at the poker table who allows you to believe you have him pegged — and that’s when he springs the trap on you and shows you something you never saw coming.

[Coppola] has the courage to play it in a minor key.

What I will remember is the photography, and the bliss (just this side of madness) with which the Jeff Daniels character invents his foolhardy schemes.