A meandering documentary, frustrating when Moskowitz has Mossman in his sights and still delays bagging him while talking to other sources. But at the end, we forgive his procrastination (and remember, with Laurence Sterne and Tristam Shandy that procrastination can be an art if it is done delightfully).

Regardless of language, this film speaks volumes about the human condition. About childhood. About loss. About family. About unconditional love.

Even when it's baffling, it's never boring. I've heard of airtight plots. This one is not merely airtight, but hermetically sealed.

For those looking for non-stop action, pretty dazzling special effects and solid acting by the young protagonists, Insurgent will not disappoint.

Jeunet brings everything together -- his joyously poetic style, the lovable Tautou, a good story worth the telling -- into a film that is a series of pleasures stumbling over one another in their haste to delight us.

With a richly layered and resonant screenplay by Kata Wéber, surehanded direction from Mundruczó and a stunningly authentic performance by Vanessa Kirby (“The Crown”) sure to garner an Oscar nomination, Pieces of a Woman is a stark and unforgettable character study about love and loss, and what loss does to love, and how some tragedies are so devastating, so huge, the survivors will never be the same.

We get the sense of a live intelligence, rushing things ahead on the screen, not worrying whether we'll understand.

Now Singleton, too, dares to take a hard look at his community. His characters are a little older, and he is older, too, and less forgiving.

A movie so strange that it escapes entirely from the family genre and moves into fantasy. Like "Willy Wonka and the Chocolate Factory," it has fearsome depths and secrets.

So what we're seeing here is the emergence of a promising writer-director, an actor and a cinematographer who are all exciting, and have cared to make a film that seeks helpful truths.

This is just sheer, escapist entertainment from start to finish.

All the time Phil and Claire seem like the kind of people who don't belong in a screwball comedy. That's why it's funny. They're bewildered.

An intimate, often heartbreaking chronicle.

The whole movie is quiet, introspective, thoughtful.

You’d have to start looking into ancient Greek tragedy to top it as a showcase for pure, unadulterated hubris. That’s one of the things that makes The Armstrong Lie, which has more on its mind than the mere debunking of a tarnished hero, so worthwhile.

One of those joyous films that leaps over national boundaries and celebrates universal human nature.

We learn that the emotional roller coaster of his formative years probably contributed to the complexity of his lyrics.

At times Reitman (adapting Chad Kultgen’s 2011 novel) can be a bit preachy and scolding about the pitfalls of surrendering one’s “RL” (real life) to one’s online existence, but just about any parent or any teenager seeing this film will empathize with any number of the interconnecting plot lines.

Paul Walter Hauser, perhaps best known for his portrayal of another sad-sack wannabe in “I, Tonya,” delivers screen-commanding work as the title character.

It's a comedy, but there's more in it than that; it's a movie about the ways we pursue, possess, and consume each other as sad commodities.

Lumet is exploring the clichés, not just using them. And he has a good feel for the big-city crowd that's quickly drawn to the action.

[A] dark and wickedly funny and sometimes flat-out wiggy little number.

Battle of the Sexes stands on its own as a finely tuned period piece, a vibrant comedy, an effective character study and, yep, an inspirational sports movie.

Winslet and Ronan are magnificent together, conveying the escalation of intimate moments, from holding hands to kissing to embracing to an extended and graphic coupling that beautifully conveys the avalanche of feelings each is experiencing as they make love.

Joe Lynch’s fantastically creative, subversive and Tarantino-esque Mayhem stands alone as an entertainingly bloody and dark and twisted social satire — but it’s even more satisfying for those of us who loved Steven Yeun’s Glenn on The Walking Dead.

The movie is, indeed, perhaps the most believable that Herzog has made. For a director who gravitates toward the extremes of human behavior, this film involves extreme behavior, yes, but behavior forced by the circumstances.

The film had a curious effect on me. I was sometimes confused about events as they happened, but all the pieces are there, and the film creates an emotional whole. It's more effective when it's complete than during the unfolding experience.

The photography and sound here are very effective in establishing that a train is an enormously heavy thing, and once in motion wants to continue. We knew that. But Scott all but crushes us with the weight of the juggernaut. We are spellbound.