A funny screen version of a very funny (if not very significant) Broadway comedy. It does well as an evening's entertainment.

I Am Ali serves as further testimony Ali wasn’t simply a great boxer, he was a great man who happened to be a great boxer as well.

In its descriptions of autumn days, in its heartfelt conversations between a father and a son, in the unabashed romanticism of its evil carnival and even in the perfect rhythm of its title, this is a horror movie with elegance.v

Broadway Danny Rose uses all of the basic ingredients of Damon Runyon's Broadway: the pathetic acts looking for a job, the guys who get a break and forget their old friends, the agents with hearts of gold, the beautiful showgirls who fall for Woody Allen types, the dumb gangsters, big shots at the ringside tables (Howard Cosell plays himself). It all works.

Just about every scene features an Oscar winner or an Oscar nominee or an Emmy winner and/or a first-rate character actor — and just about every scene is a bloody mix of taut thriller and utterly implausible noir plot point. This is a sordid but slick and gutsy mess that comes across like a cover-band version of a Michael Mann movie.

Drawing from behind-the-scenes footage and photos on the “Rust” set, police footage from the scene and from interrogation rooms, interviews with actors and production staffers as well as director Joel Souza (who was wounded but fully recovered) and Hutchins’ personal archives, “Last Take” is a powerful piece of work.

Writer-director Bo Burnham’s Eighth Grade is a sweet and intelligent and sometimes absolutely heartbreaking slice of modern-day, eighth-grade life, which, in some ways (hello social media), is radically different from the eighth-grade experience of 1998 or 1978 or 1958, but in many ways is absolutely relatable to audiences of any age or gender.

Movies like this embrace goofiness with an almost sensual pleasure.

Ferrell and his longtime collaborator Adam McKay have a unique gift for creating characters that are human car wrecks yet somehow win our affection.

An unreasonably entertaining movie, causing you perhaps to revise your notions about women's Roller Derby, assuming you have any.

It’s a crazy kaleidoscope of bright colors, dark corners, David Lynch-style set pieces and shock moments designed to keep you up at night — and it features a quintet of memorable performances from two of the best young actors around and three iconic Brits.

With Pamela Adlon (“Better Things”) directing in a style reminiscent of the best Woody Allen and Nora Ephron movies of the 1970s and 1980s, a sharp and hilarious and poignant screenplay by Glazer (“Broad City”) and Josh Rabinowitz, and winning performances from the co-leads, “Babes” is one terrific friend-com, or should we say a mom-com, and I can already picture Eden and Dawn making fun of that latter term.

The Homesman is not an easy, comfortable viewing experience. That’s part of what makes it unique.

Like most British family films, Water Horse doesn't dumb down its young characters or insult the intelligence of the audience. It has a lot of sly humor about what we know, or have heard, about the Loch Ness monster.

Those hoping to see a "vampire movie" will be surprised by a good film.

A surprisingly effective film, touching and knowing and, like Deneuve, ageless.

It's poignant to watch the chicks in their youth, fed by their parents, playing with their chums, the sun climbing higher every day, little suspecting what they're in for.

From front to back stage, 20 Feet From Stardom is a compelling look at the spirit of these giving artists as they navigated the rapid musical and social change of the 1960s, ’70s and ’80s.

Guggenheim, contends the American educational system is failing, which we have been told before. He dramatizes this failure in a painfully direct way, says what is wrong, says what is right.

Thieves doesn't have the Hollywood kind of ending, where everything is sorted out by who gets shot. It is about the people, not their plot. It is about how the sins of the fathers are visited on the sons, and the grandsons.

The formula has rarely been mined to such resounding success. This is one of the funniest movies of the year AND one of the most romantic movies as well.

Not a war film so much as the story of a personality who has found the right role to play. Scott's theatricality is electrifying.

Equal parts film noir, relationship drama, dark comedy and mood piece, Digging for Fire is a movie made by someone who clearly loves the art of movies.

Sports movies have a purity of form. They always end with the big game, in triumph or heartbreak. So does The Heart of the Game, although the lawsuit still hangs over the team after the final free throw.

Levinson’s dense and richly layered, albeit sometimes overly theatrical, script affords Washington and Zendaya multiple opportunities to showcase their considerable talents and for the discourse to expand beyond the fraying relationship.

A vicious and cheerfully twisted psychological thriller dripping in deception and dread, bathed in pop-art colors and infused with a wickedly dark sense of humor.

Ruffalo plays the character with that elusive charm he also revealed in "You Can Count on Me."

At the end of The Man Without a Past, I felt a deep but indefinable contentment. I'd seen a comedy that found its humor in the paradoxes of existence, in the way that things may work out strangely, but they do work out.