The movie's thriller elements are given an additional gloss by the skill of the technical credits, and the wicked wit of the dialogue.

I'm giving the movie a high rating for its skill and professionalism and because it does the job it says it will do. I am also advising you not to eat before you go to see it.

Cat People moves back and forth between its mythic and realistic levels, held together primarily by the strength of Kinski's performance and John Heard's obsession. Kinski is something. She never overacts in this movie, never steps wrong, never seems ridiculous; she just steps onscreen and convincingly underplays a leopard. Heard also is good.

The movie is an uncommonly knowledgeable portrait of the way musical gifts could lift people of ordinary backgrounds into high circles.

Compulsively watchable and endlessly inventive as it transforms Broomfield's limited materials into a compelling argument.

This is not one of those delightful movies based on a Jane Austen novel. It is about hard realists, constrained in a stifling system and using whatever weapons they can command.

The movie does indeed feature much footage of MacPherson and her sister sirens in the nude, but it is smarter, more thoughtful and more good-tempered than you might expect.

It is about the desiring itself, not about what they desire. That makes it more intriguing than if we knew their secret--and sexier.

What works best in the film is the over-all vision. Branagh is able to see himself as a king, and so we can see him as one.

Has a bracing truth that's refreshing after the phoniness of female-bonding pictures like "Divine Secrets of the Ya-Ya Sisterhood."

Director Felix Van Groeningen takes a story that might be too much to bear in a straightforward, linear narrative and explodes it, then artfully reassembles the pieces by jumping back and forth in time.

The first film to build on the enormously influential "Pulp Fiction" instead of simply mimicking it. It has the games with time, the low-life dialogue, the absurd violent situations, but it also has its own texture.

What's interesting is that every single person in this film is seen as themselves, is allowed to speak and seems to have a good heart. I've rarely seen a documentary quite like it. It has a point to make but no ax to grind.

No one, male or female, has any fun, but the men behave as if they do. They are all half-stupefied by the languor in which they drown.

I.Q. is a romantic comedy with its heart in the right place, and all of the other pieces distributed correctly, too.

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.

This is one terrifically twisted parental play date.

This is one of the most moving films of 2016. Every 20 minutes or so, it grabs you and puts a lump in your throat.

This is one of Denzel Washington's great performances, on a par with his work in "Malcolm X."

Red 2 not only delivers the action, laughs and thrills of the original — in many ways it surpasses it.

The movie is funny in a warm, fuzzy way, and it has a splendidly satisfactory ending, which is unusual for an Albert Brooks film 

I think the secret to the appeal of the entire “Kung Fu Panda” franchise is the enormous affection we feel for Po, that seemingly bumbling good guy who also can rise to the occasion and showcase true heroism and mystical power.

Angelou's first-time direction stays out of its own way; she doesn't call attention to herself with unnecessary visual touches, but focuses on the business at hand.

Revanche involves a rare coming together of a male's criminal nature and a female's deep needs, entwined with a first-rate thriller. It is also perceptive in observing characters, including a proud old man. Rare is the thriller that is more about the reasons of people instead of the needs of the plot.

The Lunchbox,” Indian director Ritesh Batra’s debut, is a witty and perceptive film that reveals the hopes, sorrows and regrets of ordinary people.

For every moment of inspiration and hope in the teen-political documentary Boys State, when you find yourself thinking, By gosh, the kids are all right, there are at least two jaw-dropping instances of 16- and 17-year-olds compromising their values with such cynicism you weep for our future.

The intimacy of debut writer-director Ryan Coogler’s approach to the film and the no-frills, believably real quality of the main performances combine to drive the senselessness of Oscar’s killing home with visceral impact.

A skillful, efficient film that involves us in the clever and deceptive game being played by Ramius and in the best efforts of those on both sides to figure out what he plans to do with his submarine - and how he plans to do it.