An astonishing film.

This is a very good haunted house film. It milks our frustration deliciously.

Cluzot, with his uncanny resemblance to Dustin Hoffman, is an engaging actor who effortlessly summons up inner neurosis. The others are all skilled at light wit and banter; in a way, the film is simply a record of the French being French.

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

Mark is played by John Hawkes, who has emerged in recent years as an actor of amazing versatility. What he does here is not only physically challenging, but requires timing and emotion to elevate the story into realms of deep feeling and, astonishingly, even comedy.

These are hard men. They could have the "Sopranos" for dinner, throw up and have them again.

Brave, heartless, and exceedingly strange, a quasi-documentary in which the actor Maximilian Schell mercilessly violates the privacy of his older sister, Maria.

An effective thriller precisely because it is true to the way sophisticated people might behave in this situation. Its characters are not movie creatures, gullible, emotional and quickly moved to tears. They're realists, rich, a little jaded.

The Sure Thing is a small miracle. Although the hero of this movie is promised by his buddy that he'll be fixed up with a "guaranteed sure thing," the film is not about the sure thing but about how this kid falls genuinely and touchingly into love.

Like a John Cheever short story or a sociological snapshot by Tom Wolfe, The Object of Beauty is about people who have been so defined by their lifestyles that without those styles they scarcely exist.

Marjorie Prime sounds like the title of a British miniseries, but is in fact one of the strangest, most disturbing and most thought-provoking films of 2017.

The Craft: Legacy is a smart, edgy, wickedly funny and wild ride from the talented writer-director Zoe Lister-Jones.

Of course, the aging-hit-man theme is hardly original, and at times Asher feels almost TOO familiar — but thanks to the great performances by Perlman and the supporting cast; a knowing and literate script by Jay Zaretsky, and the slick direction of Michael Caton-Jones, this is a sparkling black diamond of film noir.

The result of the film is shocking, saddening and frustrating.

In Spielberg's Schindler's List there are the famous shots of the little girl in the red coat (in a film otherwise shot in black and white). Her coat acts as a marker, allowing us to follow the fate of one among millions. The Last Days, directed by James Moll, is in a way all about red coats--about a handful of survivors, and what happened to them.

One of the nicest things about the movie is the way it maintains its note of slightly bewildered innocence.

The key to the film is in the character of David. One can imagine a scenario in which an overbearing father drives the son to rebellion, but what happens here is more complex and sinister.

Where did Hollywood get the conviction that audiences demand an ending that lets them off the hook? Foster doesn't let herself off the hook in The Brave One, and we should be as brave as she is.

A rather brilliant lump of coal for your stocking hung by the fireside with care. How else to explain an R-rated Santa Claus origin story crossed with "The Thing"?

The film most of all is about Hester, who stares out the window and smokes.

By dropping in on this couple from time to time for the kinds of moments one of them might remember, the film is more honest than its characters.

It’s a period piece with a wink. It’s also funny as hell and a true big-screen treat.

But what Husbands and Wives argues is that many "rational" relationships are actually not as durable as they seem, because somewhere inside every person is a child crying me! me! me! We say we want the other person to be happy. What we mean is, we want them to be happy with us, just as we are, on our terms.

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.

Does the film have a message? I don't think it wants one. It is about the journey of a man going mad. A film can simply be a character study, as this one is.

Stella is the kind of movie they used to call a tearjerker, and we might as well go ahead and still call it that, because all around me at the sneak preview people were blowing noses and sort of softly catching their breath - you know, the way you do when you're having a great time.

What Burton has made is a film which celebrates Wood more than it mocks him, and which celebrates, too, the zany spirit of 1950s exploitation films - in which a great title, a has-been star and a lurid ad campaign were enough to get bookings for some of the oddest films ever made.

When the mistake is discovered, how do the families react? What disturbs them more: that their son has been raised as an enemy or that he has been raised in another religion? That's where The Other Son gets complicated.