The result puts a human face on Derrida, and makes one of the great minds of our times interesting and accessible to people who normally couldn't care less.

Despite pitch-perfect performances, the craft of Moretti's direction and his honorable intentions, The Son's Room was not especially moving.

One of the most beautiful movies you're likely to see this year. And the cast members, all amateurs, are first-rate.

Despite its visual brilliance, its all-round cleverness, and the way it demonstrates a profound understanding of genre, the Coen brothers' The Man Who Wasn't There doesn't quite come off.

The static, claustrophobic movie is very much a filmed play.

The strapping Damon's lived-in performance makes us happy to follow Bourne wherever he may go.

The quality of the acting, Cave's hellfire score and the heavy atmospherics of the directing merely dress up a cliché: Violence leads to more violence.

This film is narratively inert (we spend a lot of time listening to the same questions being asked over and over) and, like virtually all docs in its genre, less than vigorous in its pursuit of truth.

The core problem facing the rather annoying new movie “The Fall Guy” — starring Ryan Gosling as a professional daredevil — is that we can’t believe. Never for a second does the viewer buy that goofy Gosling is an in-demand stunt person who sets aside his ego for the betterment of a project.

Brilliant star Michael B. Jordan does double-duty in “III,” returning to play Adonis Creed and directing a film for the first time — the man is a champ at both athletics and aesthetics.

Even after nearly three hours of sitting, I didn’t feel as though I’d gotten to know the characters very well.

The political intrigue behind the documentary would make for a great movie of its own.

In a time when climate news is near-uniformly depressing, this is a nature documentary that pays loving and hopeful tribute to the complex web of life — and it won’t scare your kids.

At nearly three hours, it’s entirely too long, needlessly padded out with an intrusive interview-framing device.

Elegantly photographed family saga that brims with period detail. Unfortunately, the underlying story is less than compelling,

It’s mainly instructive in that it shows how liberals believe the end always justifies the means.

This atmospheric, cool-looking but gimpy thriller based on a John le Carré novel makes “Tinker, Tailor, Soldier, Spy” look like “22 Jump Street.”

Every episode of "Law & Order" I've ever seen has a more complicated and plausible plot, punchier dialogue and more New York authenticity, all in less than half the time consumed by this poky would-be finance thriller.

Showcases a brilliantly realistic performance by Abbie Cornish as Heidi. She's a provocative mix of naivete and ripe, unbridled sexuality.

Bluebeard revisits themes often found in Breillat's films -- sibling rivalry, pedophilia, gender conflict -- but it remains fresh and new.

Overall, the film is not quite up to "Aladdin" and "The Little Mermaid" from the same directing team of Ron Clements and John Musker, not to mention the recent string of masterpieces from Pixar.

This engaging, funny documentary catches up with Beltracchi as he and his wife are serving time in an “open” prison in Europe.

More than just a musical primer. It's also a valentine to the city on the Bosporus, the strait that separates Istanbul's Asian and European sides.

I'm not sure why it took 50 years for Araya to reach New York, but let us be thankful to Milestone Films for giving life to this forgotten film.

Well-done documentary.

An absorbing documentary.

Dark, morbidly funny and quite violent movie, which plays with audience members' heads in ways many people will find quite disturbing.

A challenging experimental film that will never play in a commercial movie theater and is settling in for a two-week run at the ever-venturesome Film Forum.