Catches the volatile beauty of what it was to be alive and politically aware in the early '70s with a rare accuracy and depth.

The result is (no pun intended) a powerful wake-up call, not just for Hollywood but for a nation that once fought passionately for the eight-hour workday and now, ever more willingly, works itself to death.

Fleming's more than passable, often extremely funny remake.

The film's plainness, and the understated force of van der Groen and Petersen's performances, sharpen its complexity of feeling until all mawkishness is cut away.

What's fun is that the road to that climactic Capitol showdown is paved with one ridiculous and relentlessly edited set piece after another.

Although they’re not revealing in a "Barbara Walters gets the guest to cry" sense, the interview segments are queasily fascinating.

Moments of genuine insight alternate freely with those of banal psychologizing, but even then there can be no denying that the filmmaker has an ear for a certain brand of self-absorbed discourse often overheard in restaurants and bars in the shadow of the Hollywood sign. And given the choice, I’ll take Henry’s home movies over Jonathan Demme’s any day of the week.

Unexpectedly gripping horror movie.

Thrillingly unpredictable.

It's great unruly fun.

Now this is more like it: Flirtatious repartee between glamorous stars in travel-poster international locations; a gratifyingly simple plot with puzzles and sleight-of-hand surprises; and, at regular intervals, outbursts of gaudy, energetic dancing infectiously exploding.

This whole movie is fun, and smart too, a fitting tribute to Jay Ward's original cartoons.

Will get you thinking about wine, and what is and isn't important about it.

A warm, spacious road movie with a stirring sense of the wide-open landscapes of the American West.

The supremely attractive leads, exotic locations (Vietnam, Berlin and Beirut) and fetishized violence imbue the whole intelligence game with undeniable glamour.

The sense of loss aroused by the film is oceanic.

In this tense, lyrical and bone-spare slice-of-death drama by writer-director Jeff Nichols, Shannon gets a role tailored to his lanky Middle American boyishness and the demons peering from behind it.

The movie is basically on one level and Faris on another -- in that exclusive aerie occupied by Judy Holliday, Carole Lombard, Lucille Ball and a few other blissfully original comedy goddesses.

The pace of the film remains fairly brisk, in no small part because what's being said is staggering, especially if you don't know too much about the science of and politics behind vaccines.

Poignant portrait.

What Ratner brings to the proceedings is an awareness that what worked for "Silence" -- namely screenwriter Ted Tally, production designer Kristi Zea and, of course, Anthony Hopkins as Lecter -- will work overtime here, to enhance the project at hand and provide a seamless connection back to Jonathan Demme's multiple-Oscar winner.

Creation's power lies in its layers, in the way it makes distinctions between religion and faith, and the ways it beautifully (save for one clunky bit of overexplanation) lays out the similarities between religion and science.

Far from a complete success: It takes too long to get to its central premise and, once there, too often meanders away from it. But Campbell is close to astonishing whenever she's onscreen.

A triumph of production design...As a character study, though, The Aviator is downright squeamish.

Their access is far broader than any TV network's, and in the end, they transcended the body counts and bland abstractions that characterize most Western reporting on the war.

The temptation for an easy score is one of a handful of shopworn plot elements in Anthony Onah’s debut feature The Price, yet the interaction of t

This heartfelt tale of disintegration and acceptance, seasoned with family devotion, will both raise and soothe the anxieties of those of us who regularly ask ourselves why we came into the kitchen two minutes ago.

The film, like the beleaguered country it depicts, has a raw, neurotic, brawling yet tender vitality.