Watch Jan Decleir's performance. He never goes for the easy effect, never pushes too hard, is a rock-solid occupant of his character.

With some genuinely insightful dialogue, a number of truly funny bits of physical business, and small scenes allowing us to get know and like a half-dozen supporting players, The Intern grows us on from scene to scene, from moment to moment.

One of the best elements of the movie is in breaking free, he is respecting his father. This movie has deep values.

Stone's most impressive achievement in this film is to allow all the financial wheeling and dealing to seem complicated and convincing, and yet always have it make sense.

Most movies are made by males and show women enthralled by men. This movie knows better.

What all three of these stories share is the quality found in Edgar Allan Poe, H.P. Lovecraft and Stephen King: An attention to horror as it emerges from everyday life as transformed by fear, fantasy and depravity.

A breathtaking exercise in the macabre, a gruesome thriller with quirky cops and a killer of Lecterian complexity, and even when the movie is perfect nonsense, it's so voluptuous that you're grateful to be watching it anyway.

It’s almost as if Ritchie wants to make sure we know he directed this, because it doesn’t seem like “a Guy Ritchie film.” Duly noted, and kudos to the veteran filmmaker for delivering a skillfully made and gripping tale about the hell of modern war and the universal nature of sacrifice, commitment and heroism.

A peculiar and intriguing film.

The story, written by Benton from the novel by Richard Russo, unfolds according to its own logic. It has the patience to listen to silences. Above all, it benefits from the confidence of Newman's performance. He is not hammering the points home, not marching from one big scene to another, but simply living on the screen.

After all these years, the land of Zamunda is still the world capital of comedy.

This is a well-crafted movie by a man who knows how to hook the audience with his story; it's Frankenheimer's best work in years.

From the direction to the script to the production elements to the performances, Triple Frontier is a first-class ride.

It’s a hard-R live action cartoon, and it is superb, wall-to-wall action entertainment, and I’m already looking forward to “John Wick: Chapter Four: This Time He Adopts a Cat.”

The ensemble is uniformly excellent, but this is Tim Blake Nelson’s showcase from the moment he appears onscreen, and he delivers world-weary greatness every step of the way.

The animation is elegant, the story is much more involving than in the original, and there's boundless energy.

At times the deception and the intrigue and the twists and turns make it nearly impossible follow every detail of the plot, but even when things get muddled, we know Ethan’s our hero.

The latest in a flowering of good films from Iran, and gives voice to the moderates there. It shows people existing and growing in the cracks of their society's inflexible walls.

Most impressive of all are the performances by Sebastian Stan as the raw and ambitious younger Trump, and Jeremy Strong (the “eldest boy” from “Succession”) as the unconscionable Cohn. This is “The Art of the Deal” told as a Frankenstein dark fable.

Rgatime is a loving, beautifully mounted, graceful film that creates its characters with great clarity.

this is a very good movie. Woody Allen is ... Woody, sublimely. Diane Keaton gives us a fresh and nicely edged New York intellectual. And Mariel Hemingway deserves some kind of special award for what's in some ways the most difficult role in the film.

A smart and funny movie, and the characters are in on the joke.

The most significant fact of the film is that the prosecutor Gunson, a straight-laced Mormon, agrees with the defender Dalton that justice was not served.

Petzold is a master at creating the kind of tension that can be felt on a subterranean level, a sort of acute uneasiness that can't be easily diagnosed, fixed, or even acknowledged by the characters. This is well-trod ground for Petzold, but never has it been so fully realized, so palpable, as in Barbara.

Thanks to director Jon Favreau’s visionary guidance and some of the most impressive blends of live-action and CGI we’ve yet seen, The Jungle Book is a beautifully rendered, visually arresting take on Rudyard Kipling’s oft-filmed tales.

A compelling, persuasive film, at odds with the White House effort to present Bush as a strong leader.

Has the sort of headlong confidence the genre requires. Russell finds the strong central line all screwball begins with, the seemingly serious mission or quest, and then throws darts at a map of the United States as he creates his characters.

The film is terrifically entertaining, an ambitious big-budget epic, directed with great visuals and sound by Takeshi Miike.