Thanks in large part to Munn’s elegant, authentic, grounded and moving performance, we’re rooting hard for Violet to find some inner peace.

There’s life, there’s TV — and there are movies about TV, and though Being the Ricardos is a work of drama, it has the essence of truth.

It has more intelligence than heart, and is more clever than enlightening. But it is never boring, and there are moments when it reminds us of how sexy the movies used to be, back in the days when speech was an erogenous zone.

Vinterberg has created a modern horror story about a man’s descent into a Kafkaesque nightmare.

Stripes is an anarchic slob movie, a celebration of all that is irreverent, reckless, foolhardy, undisciplined, and occasionally scatological. It's a lot of fun.

This is not a political documentary. It is a crime story. No matter what your politics, Enron: The Smartest Guys in the Room will make you mad.

If the film is less than perfect, it is because Smith is too much in love with his dialogue. Smith is a gifted comic writer who loves paradox, rhetoric and unexpected zingers from the blind side.

Director and co-writer Clint Bentley’s sun-dappled, beautifully photographed, rough-and-tumble backstretch drama “Jockey” gets the rollercoaster life and often tough times of the jockey and the horse racing world just right.

Woody is still capable of writing and directing one of the liveliest, funniest and sharpest movies of the year.

Alexander Payne is a director whose satire is omnidirectional. He doesn't choose an easy target and march on it. He stands in the middle of his story and attacks on all directions.

One of the most involving of the many first-rate thrillers that have come recently from Scandinavia.

Whereas so many of these films end with the big game/fight/match and a freeze-frame moment of glory before the credits roll, The Fire Inside is finding another gear.

The movie isn't a comic book that's been assembled out of the spare parts from other crime movies; it's an original, in-depth look at this world, written and directed with concern—apparently after a lot of research and inside information.

Real Genius contains many pleasures, but one of the best is its conviction that the American campus contains life as we know it.

If it doesn't work, it fails spectacularly, but it does work, and it succeeds in making its plot clear even though the basic story device is unending confusion.

There is a jolting surprise in discovering that this film has free will, and can end as it wants, and that its director can make her point, however brutally.

This is essential viewing for any Bears fan, and for that matter any football fan.

Director Chris McKay keeps things zipping along, alternating between smart and often hilarious rapid-fire exchanges of dialogue, and big, big, BIG action sequences that fill every inch of the screen with brightly colored, fantastically kinetic action.

Is Prisoner of Azkaban as good as the first two films? Not quite. It doesn't have that sense of joyously leaping through a clockwork plot, and it needs to explain more than it should. But the world of Harry Potter remains delightful, amusing and sophisticated.

A wonderful film, nostalgia not for a time but for a style of filmmaking, when shell-shocked young audiences were told a story and not pounded over the head with aggressive action.

Here is a comedy of great high spirits, with an undercurrent of sadness and sweetness that makes it a lot better than the plot itself could possibly suggest.

This performance, unlike anything Paul Dano has ever done, must have required some courage. It requires an actor to cast aside all conceits of performance, presence, charisma and even timing.

My Blue Heaven: a funny, sometimes insightful look at what life might be like when a hardened criminal is plunked down in middle-class suburbia. [20 Aug 1990, p.23]

The crucial decision in The Reader is made by a 24-year-old youth, who has information that might help a woman about to be sentenced to life in prison, but withholds it. He is ashamed to reveal his affair with this woman. By making this decision, he shifts the film's focus from the subject of German guilt about the Holocaust and turns it on the human race in general.

The genius of The Krays, Peter Medak's new film about the most notorious villains of modern British crime, is that the movie is not simply a catalog of stabbings, garrotings and bloodletting. It goes deeper than into the twisted pathology of twins whose faces would light up with joy when their mom told them they looked just like proper gentlemen.

William Hurt can be so subterranean we don't know where he's tunneling. Here he seems to be one thing while becoming its opposite.

A movie with some nice surprises, mostly because it takes the time to create some interesting characters.

This is one of the most intelligent and compelling movie musicals in a long time - and the most grown up.