A Tom Cruise action flick with a strong female heroine and a sense of humor? Edge of Tomorrow has both of those, plus a “Groundhog Day’’-style gimmick that pays big dividends. Over and over.

Makes for fascinating viewing.

Walken gives a beautifully understated performance.

Director and co-writer Matteo Garrone infuses The Embalmer with a spooky eroticism. The film is dark, both in theme and visual composition.

Rather morbid.

Like with any great singer, it's often the telling pauses of the man born Anthony Benedetto that say the most in The Zen of Bennett.

Hard to say what percentage of Haynes’ adult audience will dig this one. I found it lovely to look at and emotionally underwhelming.

Yvan Attal and Anne Consigny give understated but powerful performances as Graff and his wife, Françoise. Although a bit too long, Rapt makes for compelling viewing.

War was both cruel and magnificent, as Churchill once put it. To Gibson, it still is.

Grunting and boarlike, Gérard Depardieu supplies a one-note rendition of Dominique Strauss-Kahn in Abel Ferrara’s peculiarly unilluminating Welcome to New York.

A beautiful but empty-headed documentary.

Keeps such a lazy pace, with so many scenes that fail to move the story forward, that it should be cited for failing to meet the minimum speed for a crime drama.

For all the drama's canonization of a runner who valued guts over everything else, Without Limits takes no risks. It's just not all that it could be. [11 Sep 1998, p.069]

It’s a film heavily dependent on tone and atmosphere for its charm, the budding relationship shown through things like a lovely twilight bike ride down a hill to the shops below.

What’s the difference between “21 Jump Street” and 22 Jump Street? Same as the difference between getting a 21 and a 22 at blackjack.

Though deadly serious, Christopher Smith's European-made bubonic- plague melodrama provides good value with lots of blood and guts, as well as a solid cast.

To keep this one-man show visually engaging, director Sophie Fiennes places the professor in sets and costumes from the movies, talking about “Full Metal Jacket” from atop a barracks toilet and “Brief Encounter” from a 1940s British train.

A first-rate example of good storytelling and well-timed — while not excessive — gore. Its disgusting, hilarious conclusion left me eager to see what’ll be next from director Jim Mickle.

It also boasts a killer breakout performance by comic Patton Oswalt as a former classmate who becomes Theron's unlikely co-dependent and sometimes co-conspirator.

A highly entertaining first-person documentary .

White excels at writing dislikable protagonists — topped by Laura Dern on the HBO series “Enlightened” — while giving his characters enough humanity not to be monsters, and the potential for change.

Not a film for all tastes, but it's a considerable artistic achievement.

Except when Norton is playing retarded, he and De Niro basically compete to see who can under-act the other. It's positively mesmerizing.

Less of a "You go, girl" manifesto than its title would suggest.

The lyrical The Road Home is less political and less flashy than some previous films by Zhang Yimou.

A triumph of intelligent adaptation. It shows again how well the great Victorian storyteller translates to film, and makes enjoyable use of a generally first-rate cast.

A sobering, if exploitative, portrait of the real-life hitchhiking hooker portrayed so realistically by Charlize Theron in "Monster."

Dutch-born Lotte Verbeek is solid as You, a role that won her the best-actress prize at the Locarno Film Festival.