Takes one side, but it tries to offer hope that change can happen.

The Grandmaster sets aside traditional story structure in its last 15 minutes and becomes one of the filmmaker’s free-form visual poems, suffused with melancholy and compassion.

A Frenchman may have thought of the story first, but this Korean film pays tribute to the original while perfectly standing on its own.

The movie is supremely entertaining -- and often hilarious.

Cars is certainly watchable, and there's always some amusing bit of business happening at the edges of the frame.

De la Iglesia’s knack for offending audiences while showing them a good time is stronger than ever: Witching and Bitching isn’t much on substance or logic, but man, is it fun.

Roberts inhabits the character with a gravity and poignancy that she had never even hinted at before.

Scary? Yes, in spots. Gratuitously gory? You bet. But, first and foremost, Zombieland is a comedy.

Though far from perfect -- the film is predictable -- Satin Rouge is a refreshing view of a foreign culture.

The Lookout boasts some very interesting, original performances. They make this noirish, bank-heist caper intriguing, but in some ways they actually work against making it believable.

The Hangover remains unrepentantly irresponsible and hilarious throughout, culminating with what could be the funniest montage ever to grace a picture's end credits. The summer's first sleeper hit has arrived.

What Hunter does is to re-create, starting from the moments after the crime has been committed, the milieu in which its horrifying aftermath might plausibly have taken place. Without violence or suspense, River's Edge is horrifying. [29 May 1987, p.D5]

The wait for a great action movie is finally over. Mission: Impossible – Ghost Protocol is pure popcorn of the highest, most flavorful order, and it's good for you, too.

Celebrates a larger-than-life heroism that is, sadly, all too rare.

If Ray fails to present a genuine portrait of a complex man's essence, it does leave you with an even greater sense of awe for Charles' accomplishments, both in his personal and public lives.

It's like "Lock, Stock" as filtered through the mind of David Mamet, with Craig as the suave middleman holding it all together.

It is shameless, and I have the feeling that it is not always wholly honest with us or with its subjects. But it is so well made that we are compelled to forgive its sins. Only a cynic could deny its appeal. [22 Mar 1985, p.D10]

Kiss Kiss, Bang Bang is a movie obsessed more with the act of telling a story than the story itself, which explains why, when the movie's finally over, less than half the audience will have understood the finer points of the mystery.

Crossing Delancey is a sweet, sustained mood more than a fully realized movie. An ode to romance, Manhattan and mustachioed Jewish grandmothers, it charms and amuses but it doesn't satisfy. [16 Sep 1988, p.D1]

Certainly pleasant, but it's also a bit safe.

For all its splendor, The New World is really a love affair between Malick and his camera.

Hilarious and imaginatively crude with a surprising sweet and subtle aftertaste that prevents it from flopping, limp and brainless, into the sugary abyss of romantic predictability.

It digs deep into the heart and soul of its lovers, who are idealistic, intelligent and passionate - and yet still risk everything they might gain for stolen moments together.

Exuberant, often hilarious.

Innocence is a gentle love story, one that touches on an issue of great sensitivity -- sexuality in old age.

By retelling Glass' pathetic tale, Shattered Glass reminds you how our culture's emphasis on success and stardom in any field -- and the betrayal of ethics to attain them -- has a cumulative, corrosive effect on society, no matter how small the stage may be.

Cynics may not fall for its melodrama, but Riding Alone is good for everyone else, including children.

Contains all of the hallmarks of classic genre Spielberg: It shows you things you've never seen before, instills an accompanying sense of awestruck wonder, and delivers long stretches of heightened, delirious excitement that remind you why people started going to the movies in the first place.