What I've come away with is a notion of a land which, despite its crushing problems, has produced a population that seems extraordinarily radiant.

Filled with abundant evidence of Goodman as a public intellectual, assembled by its director Jonathan Lee, who believes the time is here for a rediscovery of his ideas.

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

You watch, you are absorbed, and from scene to scene, Henry Fool seems to be adding up, but then your hand closes on air. I am left unsure of my response - of any response.

There are so many different characters and story lines in the movie that it's hard to keep everything straight, and harder still to care.

As a portrait of a deteriorating state of mind, We Need to Talk About Kevin is a masterful film.

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

Marling has crafted a nicely taut, suspenseful cinematic journey into the world of corporate espionage.

I give the movie a negative review, and yet I don't think it's a bad movie; it's more of a misguided one, made with great creativity, but denying us what we more or less deserve from a Batman story.

This is a good, solid, well-executed crime story. Nothing more, nothing less.

It is piffle, yes, but superior piffle.

The film, written and directed by Tamara Jenkins, is pitched pretty firmly at that level of ambition: Broadly drawn characters, quick one-liners, squabbling family members, lots of sex.

A comedy, but a peculiar one. Peculiar, because it never quite addresses the self-deception which causes Christiane to support the communist regime in the first place.

The problem is that the film is at such pains to make its points that it doesn't trust us to find our own connections.

While it’s not as audacious or as provocative or as brutally violent as “Django Unchained,” it’s still an exhilarating moviegoing experience, filled with wickedly dark humor, nomination-worthy performances and a jigsaw puzzle plot that keeps us guessing until the bloody, brilliant end.

This is exactly the sort of plot Marx or Fields could have appeared in. Dangerfield brings it something they might also have brought along: a certain pathos. Beneath his loud manner, under his studied obnoxiousness, there is a real need. He laughs that he may not cry.

Other pleasures: The wicked trick used to smuggle Connery into the locked car with the gold; the chase scene on top of the train; and, of course, the exquisite presence of Down, who has a bedroom scene with Connery that makes James Bond look curiously like Sherlock Holmes.

Blake Edwards's "10" is perhaps the first comedy about terminal yearning. Like all great comedies, it deals with emotions very close to our hearts: In this case, the unutterable poignance of a man's desire for a woman he cannot have.

All of Me shares with a lot of great screwball comedies a very simple approach: Use absolute logic in dealing with the absurd. Begin with a nutty situation, establish the rules, and follow them. The laughs happen when ordinary human nature comes into conflict with ridiculous developments.

I won’t divulge any more so you can experience the cool madness of The 11th Green for yourself. Suffice to say it’s out of this world.

For all its academic precision and fact-based reportage, “Downfall: The Case Against Boeing” is at its most effective when we hear from the parents, the grown children, the widows, who had to receive the worst news anyone could ever imagine. This is when “Downfall” reminds us of the real costs of those two terrible tragedies.

The Sterile Cuckoo is not as good as it should have been because it lacks consistency of tone. But parts of it are awfully good, and Miss Minnelli is one hell of an actress.

The movie's dialogue is smart. It doesn't just chug along making plot points.

Documents what threatens to become an irreversible decline in aquatic populations within 40 years.

Ridiculous -- yes. Comical at times -- yes. Silliest film seen in some time by the Animals Movies Critics' Team. BUT -- great special effects as men BECOME werewolves. WOMEN, too. Before your eyes. Done with -- says here -- HYDRAULICS! Sensational!

Liev Schreiber is outstanding as the hulking, rough-edged, amiable and charismatic Wepner.

Every good actor has a season when he comes into his own, and this is Terrence Howard's time.

Civil Action is like John Grisham for grownups.