Without an actor of Broadbent’s poise and humor, The Sense of an Ending – which, I must add, is appropriately also the title of a famous work of literary criticism by Frank Kermode about theories of fiction – would be a bit too fusty.

Lacks the subtle sense of mystery that distinguished E.B. White's lovely novel, but nicely conveys its playful spirit and amiable tone.

The meandering story doesn't gather much momentum and Vittorio Storaro's camera work is less awesome than usual.

Ronald Harwood's screenplay, based on his stage play, brings an impressive range of moral and political issues into play. The acting is also strong.

I doubt if the results would have satisfied Kahlo, whose originality in matters of life, art, and ideas was vastly more far-reaching.

What saves it all from being sordid is the open desire of the director, Gregory Jacobs, and his writer, Reid Carolin, to make sure the women in the film, not the male dancers, are ultimately the ones who are celebrated.

Lavishly produced animation makes imaginative use of familiar formulas, filling the screen with handsome images accompanied by sprightly songs and lively voice-performances.

This thriller is ingeniously woven with motifs suggesting the difficulty of seeing and understanding truth, and substitutes psychological chills for commonplace gore.

The film works best when it focuses on the touching, crazymaking relationship between the two men.

Dance's directorial debut isn't exciting, but it's deeply felt and engagingly acted. Why doesn't he take more advantage of the story's opportunities for fine music, though?

The White Crow fitfully does justice to Nureyev’s overwhelming desire to be an artist, and that’s not a negligible achievement.

When, at the end, we hear Cheney intone “I was the bad guy so you didn’t have to be,” the self-serving gravity of that pronouncement rings hollow because the movie is hollow, too.

Debbie’s assemblage of her crack team has its sly amusements, especially when Cate Blanchett, as Debbie’s hypercynical best friend, and Rihanna, playing a master hacker, show up. But Rihanna, along with Mindy Kaling, who plays a jewelry expert, are vastly underused, as is Awkwafina as a world-class pickpocket. On the other hand, hammy Helena Bonham Carter, as a cash-strapped fashion designer, is overused. Her hats are funnier than her dialogue.

The film is certainly worth seeing, but it should be better than it is.

Cheadle's innate goodness is the film's main dilemma, since the truth under the story's surface (which we won't reveal here) can be contained for only so long, and with ever-diminishing dramatic returns.

Gilliam's first solo flight as a director is more notable for its inspired visual ideas than for the frequency of its laughs, but Python devotees will have fun.

Skip the first hour or so, but grab a seat in time for the surfing contest that climaxes the picture, complete with mile-high waves and the most graceful ocean-gliding this side of "The Endless Summer."

At times, the film meanders from its course and loses dramatic focus. But it's vividly acted and creatively directed.

The farce is energetically written, breezily acted, and never quite as dumb as the lunkheads it's about.

Eventually you realize the whole movie has been about young showoffs who think it's uproarious to gross out neighborhood grownups.

The story of Laurel Canyon doesn't ultimately live up to the technical polish Cholodenko brings to it, but it's worth a visit if you want to check out the latest emotional vibes emanating from the Hollywood Hills.

The real love story here is between Moore and his bullhorn.

Disney studios, director Randall Wallace, and his screenwriter Mike Rich, obviously targeting a "faith-based" audience à la "The Blind Side," lard the soundtrack with "Oh Happy Day" and readings from the Book of Job.

In all, She's So Lovely is second-best Cassavetes but still one of late summer's more adventurous releases, helped by strong performances from its talented stars and from the great Rowlands in a minor role.

Grant is a fine actor ("Withnail and I," "Gosford Park") and, although he doesn't appear in Wah-Wah, his spiritedness as a performer carries through to some of the others in his cast.

Sean Penn is one of those actors, like Nicolas Cage, who is best (sometimes worst) when he's over-the-top. Unlike Cage, Penn doesn't pour himself into dreadful commercial vehicles. No, his dreadful movies are usually not destined for the multiplex. Case in point: This Must Be the Place.

Gary Sinise is chilling as the villain, and the screenplay by Richard Price and Alexander Ignon shows some interest in class hostility and other social issues, although this doesn't extend far enough to allow the women of the story a chance to shine in their male-dominated surroundings.

Judge still comes up with enough laughs to deserve our attention. He is helped more than a little by hilarious work from supporting players Kristen Wiig, David Koechner, J.K. Simmons, and Dustin Milligan.