Soldini is able to take the shopworn theme and keep it interesting and fresh despite its lack of new ideas. He's assisted by strong performances by his two leading actors.

There’s not a bad performance in the bunch. Hendricks’ and Fanning’s Brit accents are nicely un-showy.

It’s a sympathetic portrait of an artist whose heart lay more with new work than old glories, right up to the end.

It’s a truly interesting slasher fest; in this one, the heroine gets to be both beauty and beast.

The movie's most exciting when the precision and jaw-dropping nerve of the gang holds center stage.

An affecting and beautifully realized documentary.

The fine cast, the elegant settings and the swoony title song somehow draw you in.

If there’s a flaw in Unsane, it’s that the screenplay by Jonathan Bernstein and James Greer doesn’t play its hand closer to the vest. The pleasure here is in watching and wondering what’s real and what isn’t, but all too soon it’s spelled out for us. Nevertheless, it’s great fun to watch it all come together — or, more accurately, fall apart.

What a refreshing break from what usually constitutes an epic nowadays — mixing Ant-Man and the Hulk.

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.

In this season of Hollywood blockbusters, small movies can get lost in the hype. Don't let that happen to Home.

Movies by Rob Zombie, the goth rocker turned cult filmmaker, aren’t for everybody. But he couldn’t care less. He makes movies exactly the way he wants to, with no thought of pleasing mainstream audiences. They can like it or lump it. His latest effort, The Lords of Salem, is true to form.

A tad slow by American standards, but so extremely well-acted and emotionally truthful, it's right up there with "In the Mood for Love" as prime romantic fare for the Valentine's Day weekend.

The awkwardness and drama of finding and losing love has rarely been portrayed so gracefully on screen in recent years.

No one will mistake But Forever in My Mind ("Come te Nessuno Mai") for something by Fellini or Visconti. But it is, in its own way, skillful and most entertaining.

Moves along briskly, with several laugh-out-loud moments.

Part urban thriller, part unorthodox love story, this well-acted portrayal of the shadowy realm occupied by London's illegal immigrants is buoyed by stinging social commentary and a surprising twist of intelligent humor.

While the slow buildup won't bowl 'em over at suburban multiplexes, the film should please Fessenden's loyal followers and win him new ones.

Works because they really are the focus - and they're excellently voiced .

The decade under discussion in this enjoyable documentary is the 1970s, a period that changed Hollywood forever.

It's an original, and a gamble, and one of those movies that works better than it should, despite considerable flaws of conception and execution.

Reitman directs with an empathy for mothering that never shies away from its darker side.

Taps into our worst fears of what could happen during a quiet holiday with heart-thumping realism.

Apologies to Charlton Heston loyalists, but War for the Planet of the Apes is a good example of how today’s movies sometimes beat the hell out of the oldies.

If director Tanya Wexler occasionally wanders into excess cutesiness...she makes up for it with a surplus of eye-opening historical details and a refreshing warmth for all her characters, even the ones whose views are clearly on the way out.

Writer-director Erik Van Looy keeps the action moving briskly. Danny Elsen's cinematography is stylish and the acting top-notch.

Director Alfonso Cuaron ("A Little Princess") gets vivid, convincing performances from a fine cast, and generally keeps things going at a rapid pace.

The film's tongue is so firmly in cheek that, without being a spoof like "Dragnet" or "The Brady Bunch Movie," it has more in common with the "Austin Powers" films.