A formula thriller done as an elegant genre exercise. Johnny Hallyday was brought in by To as a last-minute sub for Alain Delon, and could have been the first choice: He is tall, weathered, grim and taciturn.

It’s deliberately over the top, and I wouldn’t be surprised if some observers say Pitt made huge miscalculations in his acting choices with the result being the worst performance of his career — but I found it to be a brazenly effective piece of work, well-suited to the material.

Gandolfini is effortlessly, quietly great.

What draws us into Private Property is how so many things happen under the surface, never commented upon.

It's an exquisite short story about a mood, and a time, and a couple of guys who are blind-sided by love.

It’s refreshing to find yourself immersed in a film that zigs and zags between genres — and occasionally zaps your senses with an electric charge of shock and awe.

A no-holds-barred comedy permitting several holds I had not dreamed of. The needle on my internal Laugh Meter went haywire, bouncing among hilarity, appreciation, shock, admiration, disgust, disbelief and appalled incredulity.

Ready or Not is a warped and audacious and absolutely ridiculous slapstick gorefest. The gross-out visual punchlines might have you doubling over with laughter. Or gagging to the point where you’ll regret ordering those nachos. Or both.

The film uses a slice-of-life approach to create a docudrama of chilling horror.

A complex, deeply knowledgeable story about a truly lost soul and her downward spiral.

What makes Jackson's film enthralling and frightening is the way it shows these two unhappy girls, creating an alternative world so safe and attractive they thought it was worth killing for.

Sidewalk Stories weaves a spell as powerful as it is entertaining.

Amidst all the fireworks and the cascading champagne and the insanely over-the-top parties, we’re reminded again and again that The Great Gatsby is about a man who spends half a decade constructing an elaborate monument to the woman of his dreams.

Ritt directs with a steady hand, and the dialog by Irving Ravetch and Harriet Flank bears listening to. It's intelligent, and has a certain grace as well.

There are some moments in The Witches of Eastwick that stretch uncomfortably for effects - the movie's climax is overdone, for example - and yet a lot of the time this movie plays like a plausible story about implausible people. The performances sell it. And the eyebrows.

This movie is knowledgeable about the city and the people who make accommodations with it.

While Southpaw will surprise almost no one who has seen a fair amount of boxing movies, Fuqua’s direction and the excellent performances keep the action humming.

The movie is wonderfully entertaining, red-blooded and rousing, and with a production design that makes it uncommonly handsome.

Even as TÁR delivers as an intellectually soaring, elaborately constructed and passionate tribute to the technical AND emotional joys of playing, conducting and appreciating beautiful music, it also becomes a knowing and timely #MeToo fable.

Avengers: Age of Ultron is a sometimes daffy, occasionally baffling, surprisingly touching and even romantic adventure with one kinetic thrill after another. It earns a place of high ranking in the Marvel Universe.

McKellen is brilliant throughout, his piercing blue eyes revealing the gallantry of youth and the sadness of a life’s worth of memories slipping further away. His understated and charming approach to the role makes it all the more potent and engaging.

The film has an odd subterranean power. It doesn't strive for our sympathy or make any effort to portray Rosetta as colorful, winning or sympathetic.

Miss Hepburn is perhaps too simple and trusting, and Alan Arkin (as a sadistic killer) is not particularly convincing in an exaggerated performance. But there are some nice, juicy passages of terror, and after a slow start the plot does seduce you.

It's an astonishing film: weird, obsessed, drawing on subterranean impulses, hypnotic.

I’m not going to pretend I always knew exactly what everyone was talking about as we plunged ever deeper into the weeds of double-crossing and triple-crossing among a batch of mostly iniquitous secret agents, but it’s a zippy and darkly funny ride every step of the way. The dialogue jumps off the page, and the performances are universally brilliant.

Walter Hill's "Geronimo," a film of great beauty and considerable intelligence, covers the same ground as many other movies about Indians, but in a new way.

Avoids all sports movie cliches, even the obligatory ending where the team comes from behind.

Deadpool 2 is wicked, dark fun from start to finish, with some twisted and very funny special effects, cool production elements, terrific ensemble work — and for dessert, perhaps the best end-credits “cookie” scene ever.