What's Love Got to Do With It ranks as one of the most harrowing, uncompromising showbiz biographies I've ever seen.

Here was a great artist. She enjoyed her life. She didn't complain at the time, she didn't complain when she went cold turkey, she didn't complain in her 80s.

The result is a raw and sometimes chilling and often darkly funny adventure filled with just enough nods to social media, e.g., we sometimes hear the familiar Twitter sound effect when something is posted.

Like that damn disembodied hand, Talk to Me will keep you in its grips throughout.

It’s refreshing to find yourself immersed in a film that zigs and zags between genres — and occasionally zaps your senses with an electric charge of shock and awe.

The central performance in Brothers is by Connie Nielsen, who is strong, deep and true.

Some women are simply sexy forever. Helen Mirren is a woman like that. She's 64. As she enters her 70s, we'll begin to develop a fondness for sexy septuagenarians.

Filmmakers Cristina Constantini and Kareem Tabsch have fashioned an illuminating and insightful documentary/biography.

Margin Call employs an excellent cast who can make financial talk into compelling dialogue. They also can reflect the enormity of what is happening: Their company and their lives are being rendered meaningless.

Philip is one of the most unlikable but also one of the most fascinating characters of the year.

World on a Wire is slowed down compared to most Fassbinder. He usually evokes overwrought passions, sudden angers and jealousies, emotional explosions, people hiding turmoil beneath a surface of pose. Here there's less of that emotional energy. But if you know Fassbinder, you might want to see this as an exercise of his mind, a demonstration of how one of his stories might be transformed by the detachment of science fiction.

Director Patty Jenkins’ origin story is packed with heart and empathy, and we have Gadot’s endearing performance to thank for that — but it’s also a byproduct of the timeline.

Here is a rare movie that begins by telling us how it will end and is about how the hero has no idea why.

Though the original is superior, this glossy entertainment is far more popular with audiences. [25 Dec 1998, p.13]

A film that with quiet confidence creates a fragile magic.

With the jazzy score by Jonny Greenwood setting the tone for the cacophony of sounds in Diana’s inner world, Spencer is an exquisitely designed, beautifully photographed and at times hauntingly surreal story, set primarily on the estate where Diana was born.

Tries hard to be a good film, but if it had relaxed a little, it might have been great.

The Revenant is a visceral sensation, filled with unforgettable visuals and memorable set pieces.

House Party is silly and high-spirited and not particularly significant, and that is just as it should be.

It’s yet another instantly immersive, richly layered and beautifully shot chapter in one of the most impressive directing careers of our time.

Maybe the environment is poisoned, and the group is phony, and Carol is gnawing away at her own psychic health. Now there's a fine mess.

It is a straightforward and of course inspirational and at times profoundly moving tale, and even though we can predict just about every note it will strike before the opening credits roll, Green and screenwriter John Pollono and the outstanding cast elevate the material and make it something special and memorable.

Takes advantage of the road movie genre, which requires only a goal and then permits great freedom in the events along the way.

Even though events have been compressed to fit a 22-hour timeline into a 94-minute movie, and some conversations and characters are fictional, there’s never a moment when it feels as if events have been amped up or overcooked.

Reviewing The Naked Gun... is like reporting on a monologue by Rodney Dangerfield - you can get the words but not the music.

Strangely haunting, often heartbreaking.

Dafoe’s Vincent is a tormented, almost childlike soul who is never comfortable in his own skin, and veers from being monumentally needy to frighteningly rash. It’s a mesmerizing performance in an inconsistent and uneven film.

Because the film is well-acted and written with intelligence, it might be worth seeing, despite my objections. I suspect my own feelings.