Brokeback Mountain has been described as "a gay cowboy movie," which is a cruel simplification. It is the story of a time and place where two men are forced to deny the only great passion either one will ever feel. Their tragedy is universal.

Mrs. Henderson Presents is not great cinema, and neither was the Windmill great theater, but they both put on a good show.

This is a film situated precisely on the dividing line between traditional family entertainment and the newer action-oriented family films. It is charming and scary in about equal measure, and confident for the first two acts that it can be wonderful without having to hammer us into enjoying it, or else. Then it starts hammering.

The Weavers of 2003 did not sing as well as they did in 1982, or 1952, but if anything they had more heart, because more memories.

This is one of Anthony Hopkins' most endearing, least showy performances.

What Felicity Huffman brings to Bree is the newness of a Jane Austen heroine. She has been waiting a long time to be an ingenue, and what an irony that she must begin as a mother.

Boring, repetitive and maddening about a subject you'd think would be fairly interesting: snowboarding down a mountain.

Not a great film, but you know what? It achieves what it sets out to achieve, and it isn't boring, and it kept me intrigued and involved. As an actor, Eric Gores creates an engaging and convincing character that I liked and cared about -- and believed.

Here is a movie that makes you want to do something. Cry, or write a check, or howl with rage.

The movie is a delight, in ways both expected and rare.

I liked the movie for the quirky way it pursues humor through the drifts of greed, lust, booze, betrayal and spectacularly complicated ways to die. I liked it for Charlie's (Cusack) essential kindness, as when he pauses during a getaway to help a friend who has run out of gas.

There is not a spark of chemistry between Chris and Jamie, although the plot clearly requires them to fall in love. There is so much chemistry involved with the Anna Faris character, however, that she can set off multiple chain reactions with herself, if you see what I mean.

On film, Rent is the sound of one hand clapping.

There's not a moment in this story arc that is not predictable.

Feels uncomfortably stage-managed, and raises fundamental questions that it simply ignores.

Depp accepts the character and all of its baggage, and works without a net.

An endlessly fascinating movie.

The film is more violent, less cute than the others, but the action is not the mindless destruction of a video game; it has purpose, shape and style.

What adds boundless energy to Walk the Line is the performance by Reese Witherspoon as June Carter Cash.

A crisp, smart, cynical film about dishonor among thieves.

The movie is like a Dickens novel in which the hero moves through the underskirts of society, encountering one colorful character after another.

I was fascinated by the face of Emmanuelle Devos, and her face is specifically why I recommend the movie.

Movies like The Syrian Bride are not overtly political, but nibble around the edges, engaging our tendency to take a big political position and then undermine it with humanitarian exceptions.

Derailed has a great setup, a good middle passage and some convincing performances. Then it runs off the tracks.

It works gloriously as space opera.

The movie is well cast from top to bottom; like many British films, it benefits from the genius of its supporting players.

The performance by Flora Cross is haunting in its seriousness. She doesn't act out; she acts in.

A good movie, fearless and true, observant and merciless. Naomi Watts was brave to make it and gifted to make it so well.