I enjoyed the film very much. It was a visceral pleasure to see a hard-boiled guy like David Carr at its center.

The two women are very beautiful, gentle and sad together, and the movie is all but stolen by Chowdhry, as the servant who lurks constantly in the background providing, with his very body language, a comic running commentary.

With all the wonderful supporting performances, the true standout is Sabrina Carpenter, an actress-singer from TV’s “Girl Meets World,” who infuses Nola with such heart and such authenticity and such resolve.

The latest and one of the most harrowing films set along the religious divides in Israel.

In many ways this feels like an update on the exploitation movies of the 1970s and '80s that played on drive-in theater screens before eventually making their way to VHS and late-night TV cult viewings. It’s Sharp Cheddar Cheese on Wry (sorry) and it’s a cool and breezy 84 minutes of fun.

I like the way Last Resort ends, how it concludes its emotional journey without pretending the underlying story is over. You walk out of the theater curiously touched.

Bride Flight takes this melodrama and adds details of period, of behavior, of personality, to somewhat redeem its rather inevitable conclusion.

Ritchie has so messy targets that he misses some and never quite gets back to others. But Smile does a good job of working over the hypocrisy and sexism of a typical beauty pageant.

Twins is not a great comedy - it's not up there with Reitman's "Ghostbusters" and DeVito is not as funny as he was in "Ruthless People" and "Wise Guys" - but it is an engaging entertainment with some big laughs and a sort of warm goofiness.

A con within a con within a con. There comes a time when we think we've gotten to the bottom, and then the floor gets pulled out again and we fall another level.

Here's a movie that lets you know from the start which strings it's going to yank, how hard it's going to yank them, and even how many times. But caught in its emotional rigging, you're unlikely to find yourself bothered by its hokey predictability or strained plotting. However coolly you fight off the film, you eventually find yourself throwing in the towel and allowing your tears to be jerked. [13 Aug 1993, p.37]

Ron Howard’s claustrophobically intense and captivating “Thirteen Lives” is one of those movies where you find yourself marveling at the daunting logistics involved in re-creating one of the most famed and complex rescue efforts in recent history—but with an excessive running time of 147 minutes, by the time the story wraps up, we’re almost too exhausted to fully appreciate what we’ve just experienced.

Even with my misgivings about some of Randi’s methods, anyone who can challenges faith healers, psychics and mediums who claim a special bond with the dead — and often wins those challenges — deserves a standing ovation. An Honest Liar is an honest portrait of just that man.

Even if you don’t know the true story behind the heartwarming and uplifting “Ordinary Angels,” I can’t think of a single plot development that will surprise you and sometimes that’s OK. Sometimes it’s enough to sit back and settle in for a Comfort Viewing Movie that reminds us that even in these dark and stressful times, there are a lot of true and decent people out there who are capable of doing miraculous things.

If there is a weakness in East Is East, it's that Om Puri's character is a little too serious for the comedy surrounding him.

[Lillard's] performance dominates the film, and he does a subtle, tricky job of being both an obnoxious punk and a kid in search of his direction in life. He's very good.

It was probably the right time to say goodbye to “Ray Donovan,” as the series had begun spinning its wheels in recent seasons, after the action moved from California to the East Coast, but with this movie, Ray gets the send-off he deserves.

Was a sequel really necessary? Probably not, but thanks to Burton’s offbeat genius and a fine cast that is game for anything and everything, it’s a welcome exercise in ghostly nostalgia.

Provides an untidy and frustrating but never boring look at his life and times.

Whether you will like Jay and Silent Bob depends on who you are. Most movies are made for everybody. Kevin Smith's movies are either made specifically for you, or specifically not made for you.

The movie is a genial comedy, but it has significant undertones. Like some of Frank Capra's pictures.

What is most valuable about Amistad is the way it provides faces and names for its African characters, whom the movies so often make into faceless victims.

What makes Mike Nichols' version more than just a retread is good casting in the key roles, and a wicked screenplay by Elaine May.

Godard works with a bright style and a sense of humor and his pictures leave a cumulative impression. (Review of Original Release)

Beast and Scorpion -- with its wicked giant arachnids that pluck human victims from a wrecked train like diners selecting shrimp from a buffet -- are fan favorites. [16 Jan 2004, p.11]

A peculiarly entertaining comedy, revisits the rapport that Favreau and Vaughn had in "Swingers" (1996), and rotates it into a deadpan crime comedy.

Falls so far outside our ordinary story expectations it may frustrate some viewers.

And Cruise is so efficiently packaged in this product that he plays the same role as a saint in a Mexican village's holy day procession: It's not what he does that makes him so special; it's the way he manifests everybody's faith in him.