A smart, well-paced documentary that balances the man's triumphs with his rare failures and discerningly explores the darker side of his power.

The film’s bright colors and blaring happy music may not be enough for viewers to overcome the rather unfunny themes of neglect (“Back up the abuse caboose”) routinely excused in more engaging fare.

There may be no young actress today better at embodying a blend of wounded innocence and stoic pride than Sarah Polley. In The Secret Life of Words, she has a part worthy of her gifts.

Despite what seem like the trappings of a Lifetime movie, writer-director Claudia Myers presents us with an unflinching and complex character study of an imperfect woman.

A serious and thoughtful documentary.

Whatever else it may be — a culmination, an obligation, a staggering feat of crowd control, a truly epic tease — Avengers: Infinity War is a brisk, propulsive, occasionally rousing and borderline-gutsy continuation of a saga that finally and sensibly seems to be drawing to a close.

The two sides of A Vigilante are ultimately held together by Wilde’s ferocious performance — which swings between steely control and eruptive emotion — and by the way Dagger-Nickson frames nearly every moment from Sadie’s perspective.

In its own disturbing, slithery way, the train-wreck watchable melodrama Maps to the Stars is as much a horror show as any that the film's director, David Cronenberg, has helmed over his long and provocative career.

Statistical evidence could have strengthened the film's anecdotal argument. But in Nadya's anticipation and Ashley's depressive, disingenuous soul searching, Girl Model captures something beyond hard facts: portraits of delusion, innocent and practiced.

As rambling as a Keystone Kops comedy (which it resembles in many ways), it's slapstick to the max, and thus likely to be a bit tedious except to dedicated martial arts fans. [20 Dec 1993, p.F5]

Saville too often skims the surfaces of his characters, substituting traumatic concepts and plot devices for narrative logic and truly authentic, compelling emotion.

The pleasures of “F1” are engineered to bypass the brain. It’s muscular and thrilling and zippy, even though at over two-and-a-half hours long, it has a toy dump truck’s worth of plot.

It's a B movie made with A-student love for the relentless thrill of bodies in brutal motion.

The film is at its best following the former vice president as he spans the Earth both gathering evidence and promoting his message.

Authenticity gives the movie its witty, heartwarming, hopeful, sentimental, searing and relatable edge. It is merciless in probing the tender spots of times like these, and tough-guy sweet in patching up the wounds.

The Desert Bride is nothing complicated, but in its unforced humanity, visually poetic landscapes and agreeably metaphoric storytelling suggests the intimate pleasures of a well-turned short story.

If this all sounds fairly rote, it's far from it. That's because the filmmaker largely eschews done-to-death family dynamics, forced obstacles and predictable responses for authentic interaction, organic humor and a hopeful vitality.

Made with the on-camera cooperation of Spitzer (though not his wife), it is a sad, disturbing and in some ways tragic tale that in its lurid combination of sex and politics, banal hypocrisy and bare-knuckles power, seems very much an American story of our times.

It is a striking and moving study of "what was" versus "what it has become" as the filmmakers try to get at the whys.

Sadly, Laika’s new feature, Missing Link, fails to match the striking visuals and compelling characters in its Oscar-nominated 2016 film Kubo and the Two Strings.

The long line of recent muckraking documentaries that has preceded Why We Fight does nothing to diminish its force.

Director Francesco Zippel doesn’t challenge Friedkin, letting him spin his life’s work as he pleases.

Though the narrative could use more depth and detail, the film generally absorbs with its strong performances, stirring emotions and vivid imagery.

If you can't place the name, or want to know more, Anita is a splendid place to start.

Jack Bryan’s thorough, chilling rabbit-hole inquiry into our president’s connections to Russia — Active Measures — is as good a place as any to fuel one’s fear/outrage.

Down Terrace is long on talk but generates its own internal rhythms and pace that makes it feel bracing and vibrantly alive.

The spectacular combination of slapstick, love story and superhero antics doesn't entirely avoid awkwardness, but mostly it defies gravity, like many of the stunts.

Perhaps the greatest compliment that can be paid to the rush of raw excitement "Twister" creates is that it makes it possible to ignore the painful awkwardness of the film's expository sequences and thudding dialogue of the "OK, boss lady, hold your horses" variety.

If Avalon doesn't succeed in its family-of-man approach, it triumphs on a more theatrical level, as a family-of-actors movie. What Avalon is really about is the magic of performing. [18 Oct 1990, p.F1]

The actors wrestle passionately with compelling questions about attraction and love.

McNaughton shows some signs of directing rust in pacing and tone, but in much the way "Henry" played out, he keeps sensationalism at bay and twisted character drama in his sights, which makes for a more pleasurably icky suspense.

It’s a loving, rousing look at an amazing athlete. Yet for all its gripping, nail-biting action clips, there’s one moment in the film that rises above the rest — and it’s not set on the race course.

Smart, fun and thoroughly enjoyable, it's a model summer diversion that entertains without insulting your intelligence.

A wonder several times over.

A warm and affectionate Argentine film of wide appeal that is an Academy Award nominee in the foreign-language category.

For the most part, this unblinking family drama packs a visceral punch. Thomas' journey toward acceptance is blessedly free of noble lessons and filled with real people.

The tale of a kid whose rebellion is in feeding his knowledge is rousing enough, but it’s to Ejiofor’s credit that he takes care to meaningfully dramatize how the systems around William — social, economic and political — create a perfect storm of obstacles for anyone in a struggling community trying to seed a future.

Gillan, returning to her Highlands roots to spotlight a depressingly high suicide rate there among young people, has not only given herself an expectedly meaty role that walks a fine line between sad and bitterly funny, but she’s proven to be a director with a keen eye for expressive visuals.

Only half as clever as it thinks and even less entertaining.

The result is an exquisitely calibrated hypermodern comedy of manners. A quiet but devastating ensemble piece, both acerbic and sweet, "Friends" blends empathy and a great sense of comic timing with the richness of Holofcener's trademark take-no-prisoners observations.

Enola provides a richly fanciful, fresh perspective on the well-worn family name.

The world may never tire of being fascinated with serial killers, but My Friend Dahmer avoids exploitation often enough to forge its own perceptive, tense, character-driven path.

A fascinating and surprisingly involving film.

The movie has the taut efficiency of a well-constructed crime thriller, while its real-world underpinnings play out with a less convincing sense of urgency.

Guzzoni’s movie is an unsparing portrait of aimlessness told mostly in the queasiest shades.

In any genre, a distinct filmmaking voice and clever avoidance of cliches earns a closer look; perhaps even more so in the realm of sci-fi/horror. And no spoilers, but where Come True lands is extremely satisfying.

This is a film that seems to know a lot about future psychology. May we never know such mournfulness outside of an ambitious summer blockbuster.

Given the temptations to goof it up, Pesci's performance in My Cousin Vinny is something of a triumph. As Vincent Gambini, a swaggering pint-sized New York lawyer who only recently passed the bar on his sixth try, Pesci modulates his usual psycho-nuttiness and gives it some recognizably human, even melancholy, undertones. The movie is a very mixed bag, but it's not quite the dumb fest that the TV spots make it out to be. Pesci gives Vinny's ultimate vindication a note of bittersweet triumph.

Brisk and involving with a streamlined forward propulsion, it's the kind of superhero movie we want if we have to have superhero movies at all.

Documentaries by their nature are prisoners of their moment in time. If they are fortunate, as the makers of Red Obsession are, that moment, even if it's brief, will be able to hold our interest.

Like Greenwald's previous films, Iraq for Sale is made from a progressive political point of view but spends considerable time talking to regular people who likely voted Republican.

The film was originally shot to be shown in 3-D and its low-key use of the technology makes it one of the most effective 3-D films of the era. [24 Dec 1993, p.F12]

A story peopled by flawed archetypes, it's an achingly funny film that is also a little sad around the edges.

Peli works at mining the unknown, the unknowable, like a minimalist, using small moments and virtually no special effects exceedingly well.

Concerned mainly with the mechanics of the undertaking, the movie is less an incisive chronicle than a galvanizing tool for parents who are, understandably, frustrated with the system.

Craig reveals himself as perhaps the most generous actor to have inhabited the role. And not only toward the rest of the cast, but toward the very idea of Bond itself. Craig sets Bond free from the prison of forgetfulness that has previously trapped him like a caveman in ice, though the price is steep, and it remains to be seen if future installments can continue to pay it.

Loving and well-intentioned though this film is, it never convinces you that its subject matter merits this kind of idealized, worshipful attention. [09 Oct 1992]

Out of Darkness is effective enough — and gory — to function as a thriller of the loud-noise-springing variety. But a last-act grasp at profundity in Ruth Greenberg’s screenplay feels unearned.

This single joke rapidly gets pretty tired; you soon wish you could tell Moretti to try slapping on some calamine lotion--and getting on with his life. But stringing us along--with varying effectiveness-- is his life.

Small though it is, Kisses evokes all kinds of feelings, and that is no small thing from a film of any size.

Music may be Honeydripper's most indelible element and Sayles and longtime collaborator, composer Mason Daring, seamlessly incorporate several original songs alongside the soundtrack's period tunes.

It is the interplay between Wasikowska and Eisenberg that gives "The Double" both its tension and its charm... Their struggle captivates, the resolution shocks, and you can't help but wonder what windmills Ayoade will tilt next.

Though it might not sound it, watching Kumiko brood is mesmerizing. Kikuchi uses her mournful eyes to take us to dark places, though she's equally adept at surprise and confusion, even joy when it comes along.

To merely describe what happens in Rafiki would be to overlook its transporting sense of place, its striking visual pleasures and its credible and moving performances.

Ultimately, Mermin's film is a profound reminder of the things that make us human. Things that don't matter much, in the scheme of things, but loom large when taken away. Things we all have in common.

You might expect its beauty but not its intelligence, its ability to reflect the texture of some extraordinary lives.

As funny as it is nourishing, and it has stellar performances from Uwe Ochsenknecht and Gustav Peter Wohler, who play off each other like Jack Lemmon and Walter Matthau.

Charting its protagonist's agonizing slide into senility, the Japanese melodrama Memories of Tomorrow invites mostly unflattering comparisons with "Away From Her."

Jim Jarmusch gives us five different, self-contained episodes in five taxis in five cities on one night. The episodic structure breaks up Jarmusch's usual funky minimalism: It makes it less of a drag. Episodic movies usually don't work; we seem to settle into a story just when it ends and we're thrust into the next one. But Jarmusch's film may be a special case. Unbroken, his vague, meandering scenarios have sometimes dawdled into oblivion. But here, as in his last film, Mystery Train, the anomie is at least given some variation.

The movie is almost exactly what you’d expect: It has stirring speeches, infuriating setbacks and a tendency to overstate the obvious.

The movie is intimate in its telling, sweeping in its issues and stumbles only occasionally.

A smartly cast and consistently amusing romantic comedy.

Gorgeous landscapes and paintings provide respite from the film’s overwrought emotion.

As atmospheric and moody as a film noir, the stylish, sometimes perplexing Purple Butterfly is a remarkable period piece, evoking the bustling, dense and increasingly dangerous Shanghai of the '30s

It’s an appalling, infuriating story.

It takes some getting used to, and there are sequences more awkward in their motley-ness than pointed. But overall, it’s an effectively crashing intimacy created by the performances (especially the fizz and warmth Schilling and Rosendahl have together), Claudia Wolscht’s restless editing and Hanno Lentz’s camerawork.

Though it's blessed with a strong subject and some memorable characters and situations, the drawback of this fitfully engaging documentary is that it can't settle on anything even close to a single theme or line of inquiry.

With its exhilarating action sequences, Walt Disney Pictures' The Rescuers Down Under challenges the adventure films of Spielberg and Lucas and confirms the special power of animation to present extravagant fantasies on screen.

At bottom, Lethal Weapon isn't much. It's a big, shallow, flashy, buddy-buddy cop thriller; it attacks you like a stereophonic steamroller, flattening everything behind it. Snatches of "Hustle" "Magnum Force" and "48 HRS." float above this plot like scum on a polluted lake, and the holes in logic and mindless climax are (or should be) embarrassing. [6 Mar 1987, p.4]

It's a nearly pitch-perfect melding of genres, influences and modes of expression--it's the first Mafia movie for the hip-hop age.

The Five Devils saves some of the juiciest revelations for its final act, which can make the comparatively coy first hour feel frustratingly oblique at times. But this alluring and sneakily emotional film is never confusing.

Consider the sequel curse broken: Fear Street Part 3: 1666 satisfyingly wraps up Netflix’s R.L. Stine movie trilogy with deepened themes, more fully realized characters and enjoyable twists that lend dimension to the arching story.

This queasily funny and suspenseful movie is more than a smirking exercise in ideological deck stacking, and to praise it for its political relevance would be to understate its subtlety and specificity.

There are moments so visually stunning only a Kubrick could pull them off, yet the film is too grandiose to be the jolter that horror pictures are expected to be. Both those expecting significance from Kubrick and those merely looking for a good scare may be equally disappointed.

A brisk, handsomely designed film in which its hardware, sturdy as it is, never overwhelms its humanity.

The most energetic of the prequels, the only one at all worth watching. But that doesn't mean it is without the weaknesses that scuttled its pair of predecessors. Quite the contrary.

If the idea of interconnectedness feels secondhand, what's fresh and affecting is the way Binoche's and Duris' characters navigate life and death.

This isn’t quite the heart-soaring “Superman” I wanted. But these adventures wise him up enough that I’m curious to explore where the saga takes him next.

A film this well-made and cut (the pacy editing by Aden Hakimi calls back to the elder Romero’s own cutting of his major titles) shouldn’t be relegated to just one kind of audience. Anyone who appreciates horror should find something to smile at here.

A film whose reach exceeds its grasp. Hugely ambitious and not without moments of success, this indulgent 2 hour and 40 minute epic ends up as unwieldy as its elongated title. It's a movie in love with itself, and few things are more fatal than that.

It boils down to experience's arrogance, intellect and wealth versus youth's cockiness, resilience and hard work, and the actors appear to have a good time playing the game.

The film manages to be anything but dark; whimsy and sweet irony are laced throughout, a warmhearted blend that turned it into the surprise winner of 2008's Oscar for foreign-language film.

Made with its subject's cooperation and talking to people like comrade in arms Gloria Steinem and Allred's daughter, fellow attorney Lisa Bloom, the film allows us, at least to a certain extent, to get behind the public persona to the private person.

A film that finally fascinates despite some initial bumps in the road.

Reich and documentary director Jacob Kornbluth turn out to be the ideal collaborators to tell the story of what that gap is, why it happened and why it's important, all in a totally engaging way.

Like the films it pays homage to, Ghost Stories is more classy than chilling; but each of its dark, twisty tales is smartly staged.

The wildlife documentary One Life is a visually gorgeous, at times astonishing screen experience.