Following the shows from rehearsals to Tony Awards night, she gets behind the scenes and does a good job conveying the incessant anxieties and glee of the talents involved.

What the film is saying, so far as I can tell, is that, if cut, you will bleed. And bleed. As the vampire's kindred Seven Deadly Sinner, wild-haired Kim Ok-vin looks like she's having a high old time.

For a while, it's like really cool, with lots of energy and stuff, but then it gets like major repetitious, and you wish it was like over, y'know? As if!

This delirious film is overflowing with energy and effects, but it lacks the heart and soul that would have made it important as well as impressive.

Amalric throws in flashbacks and flash-forwards between bedroom and courthouse (yes, there’s a murder), and I was reminded again why I prefer my noirs in the hardboiled American style rather than tricked up with all this faux Alain Resnais-style filigree.

It’s a truism that actors love playing scoundrels much more than goody-goodies – though Thompson excels at both. Here she goes full out into villainy mode, and she’s a hoot.

A change from summer fare, but it doesn't make the picture compelling to watch. You won't find the detail of the "Godfather" films or the psychological complexities of Martin Scorsese's gangster movies. The plot holes are big enough to hide Al Capone's illicit millions in.

It's no accident that this movie is named after both the filmmaker and his subject. It stands with the most thoughtful releases of recent months, and will linger in memory.

The movie is mostly a megadose of good-old-days nostalgia.

Cary Grant is irresistible as Dudley the angel, David Niven brings offbeat humor to the clergyman, and Loretta Young is refreshingly low-key as the title character. The picture is more witty than laugh-out-loud funny, but director Henry Koster serves up some fetching scenes, and there are snappy second-string performances from old pros like Monty Woolley, Elsa Lanchester, and James Gleason. [03 Jan 1997, p.15]

In the end, the film’s most nuanced summation comes from Wajdi, who says, “No one has a monopoly on suffering.”

Many of the interviews in the film – conducted with everyone from family members to Christopher Hitchens and Tom Hayden – look to be 10, even 20, years old. Together they concoct a complex portrait of an ultimately unknowable man.

At 88, Christopher is at the top of his game. He turns Getty into a dastardly miser with an aggrieved core. There hasn’t been such a lonely mogul in the movies since Orson Welles’s Charles Foster Kane expired with “Rosebud” on his lips.

I kept wishing that Still Mine had jettisoned the film’s true-story trappings and moved more deeply into the Craig-Irene duet unencumbered by bad-news bulletins from the building inspectors. Easily the best parts of the film are those in which husband and wife quietly summon up in often the barest of glances and touches a near-lifetime together.

Nasheed is no saint, and if he had remained in office, maybe, as with so many others, he would have capitulated to politics as usual. But his temper, if not his outcome, is inspiring.

We get to see film of daughter Tricia’s wedding (her father is a surprisingly agile ballroom dancer) and other oddities. We also hear more of the famous audiotapes than usual. You’ll be interested to know that Nixon, not in praise, referred to Henry Kissinger as a “swinger.”

It's an inescapable fact that Gould's singular musical insights – the way he brought out in Bach a mesmeric unity of sound – could only have arisen from a singular personality.

On the screen, Burton turns out to BE the ideal filmmaker for this deliciously bizarre yarn. He's given free rein to his fantasies in past movies, but rarely as wittily and consistently as he does here.

The best family films are those that entertain both children and adults. The Sheep Detectives can be enjoyed simply as a funny fable with a solvable mystery at its center. The well-placed clues are hidden in plain view.

Despite much of the turmoil depicted, there is a sweetness to parts of this film that is reminiscent of the 1961 British movie "A Taste of Honey."

Moore turns the camera on himself too often for comfort, but he provides an eye-opening array of facts and revelations.

Pungent, opinionated, outspoken.

The film is a disappointment, and at more than two hours' running time, a very long disappointment.

Suffers from touches of sentimentality in its last portion -- Many viewers may welcome this last-minute brightening, though. If so, All or Nothing could join "Topsy Turvy" and "Secrets & Lies" as one of Leigh's most widely enjoyed recent films.

This is a great companion piece to Hou's masterly "Flowers of Shanghai" and fresh evidence of his status as Taiwan's greatest filmmaker.

What distinguishes Girl With a Pearl Earring is its combination of refined filmmaking and Johansson's exquisitely understated acting. It partakes of Vermeer's spirit and style, and that makes it one of the year's best movies.

Controversy and all, JFK is one of the year's most powerful and provocative films.

The reason The Wedding Plan rises above its flippancies is not only because of the novelty of its Israeli trappings but also because Michal is such an ingratiating whirlwind.