I'm happy I saw Win Win. It would have been possible to be happier.

Emily is played by Maggie Cheung with such intense desperation that she won the best actress award at Cannes 2004.

Streep’s performance is risky, and masterful.

At times this is a beautifully shot film — but the Safdies never glamorize Harley’s world or turn her character into some gloriously tragic heroine. We feel for Harley and we like her, but only a fool would want to spend five seconds in her tattered shoes.

Riedelsheimer, earlier made "Rivers and Tides" (2002), about another artist from Scotland, Andy Goldsworthy, whose art involves materials found in nature...Evelyn Glennie and Andy Goldsworthy have in common a profound sensitivity to their environments.

The point of the movie is not the plot, but the character and the atmosphere.

Movies like Tumbleweeds exist in the details, not the outcome. Even a happy ending, we suspect, would be temporary. We don't mind, since the characters have been intriguing to know and easy to care about.

The story touches many themes, lingers with some of them, moves on and arrives at nowhere in particular. It's not a story so much as a reverie about possible stories.

What's best about the movie is its playfulness.

Not very much happens in Metropolitan, and yet everything that happens is felt deeply, because the characters in this movie are still too young to have perfected their defenses against life.

As Fyre makes painfully clear, just about everyone involved with the project — including the co-founders — had to have known they were tumbling down a mountain at rapid speed and headed for almost guaranteed scandal and disaster, yet everyone kept on working, as if the denial would somehow soften the blow.

The Crucible is a drama of ideas, but they seem laid on top of the material, not organically part of it.

Resisting screen rules is Godard’s forte.

The French Dispatch is filled with a sense of wistful longing, delivered from the perspectives of creative and observant strangers in a wonderfully strange land.

Lost in La Mancha, which started life as one of those documentaries you get free on a DVD, ended as the record of swift and devastating disaster.

So strong, so shocking and yet so audacious that people walk out shaking their heads; they don't know quite what to make of it.

The movie pays off in a kind of emotional complexity rarely seen in crime movies.

I had to forget what I knew about Black. He creates this character out of thin air, it's like nothing he's done before, and it proves that an actor can be a miraculous thing in the right role.

Heart-stopping in its coverage of the brave and risky attempt by a scientist named James Balog and his team of researchers on the Extreme Ice Survey, where "extreme" refers to their efforts almost more than to the ice.

Bridesmaids seems to be a more or less deliberate attempt to cross the Chick Flick with the Raunch Comedy. It definitively proves that women are the equal of men in vulgarity, sexual frankness, lust, vulnerability, overdrinking and insecurity.

This is the first film to approach the subject of "undocumented workers" solely through their eyes. This is not one of those docudramas where we half-expect a test at the end, but a film like "The Grapes of Wrath" that gets inside the hearts of its characters and lives with them.

Felicity Jones gives a fierce and moving performance as Nelly.

The final chapters of Tully take us to a place I certainly didn’t anticipate, causing us to re-examine everything we’ve seen from the outset. It might not be a perfectly constructed journey, but it’s pretty close.

The texture of the film is enough to recommend it, even apart from the story.

A funny, wickedly self-aware musical that opens by acknowledging they've outlived their shelf life.

The Darkest Hour is filled with authentic touches, large and small. Most authentic of all is Oldman’s performance.

Am I acting as an advocate in this review? Yes, I am. I believe that to be "impartial" and "balanced" on global warming means one must take a position like Gore's. There is no other view that can be defended.

Doesn't replace "Fingers," but joins it as the portrait of a man reaching out desperately toward his dying ideals.