This is a feel-good comedy bordering on farce, but [Squibb] makes every scene and every line so natural that when you laugh, you’re reacting to genuine humor, not calculatedly constructed punch lines.

They have made a film absent of time that could not possibly be more of the moment.

Baby Doll doesn't go as deep as A Streetcar Named Desire or even On the Waterfront. But it's the most seamless melding of Kazan's abilities as an actor's director and a filmmaker. [12 Jun 2006]

Athena is shocking, partly because its events seem only about five minutes in our future. One could place its powder keg neighborhood in any city in any divided nation, particularly here in the United States, where another “war that pits brother against brother” seems at least as probable.

Lee Hirsch is certainly one who is making a difference. I endorse him and his brave, powerful movie and urge you to see it for yourself. You might leave Bully with rage, but you will not leave Bully with indifference.

[Adlon] has crafted a film that is at once sophisticated and aggressively sophomoric, profoundly romantic and deeply cynical, and as feminist as a barbecue at Gloria Steinem’s house and yet seemingly apolitical enough to appeal to your average Entourage fan.

The perfect actor with the perfect part at an ideal moment in his career, Domingo doesn’t simply embody Rustin, he liberates him.

This is Gyllenhaal’s directorial debut, and in her capable hands the story is purposefully hazy, unfolding in both present day and disjointed flashbacks, opening space for the audience to question the behavior of these characters and the societal pressures driving their actions.

Do not see The Taste of Things on an empty stomach. It’s a French film about gourmet French cuisine, magnificently photographed and meticulously prepared for both the camera and the palate, and raised to the status of art as only the French can.

While the film proudly remains a chamber piece very much in keeping with its roots in the theater, King opens it up in ways that show an innate knack for visual storytelling.

EO is a successful attempt by 84-year-old Polish filmmaker and sometimes actor Jerzy Skolimowski to both update and add color to the cinematic conversation about despair, purpose, and braying that Bresson started more than a half century ago.

As Robin Williams’ final film, it tolls a wonderful bell for the legacy of a distinguished career.

Too bleak and wrenching to recommend unconditionally. You need a strong constitution to watch it soberly, but it is a gripping experience that left me weak in the knees.

Filmmaker Andrew Haigh strikes gold in this moving, heart-wrenching drama about the lasting trauma of grief, isolation and the all-too-human fear of loneliness.

There’s no way to avoid the resemblances of this film to one of Keaton’s biggest past successes, Mr. Mom, but it’s consistently more intelligent and original.

The experience is simultaneously intimate and stirring; the film brings its audience to a thrillingly colorful and utterly relevant world of its own at a time when the primary purpose of other superhero movies seems to be to tease future installments and fill corporate coffers.

It’s too monstrous and mean-spirited to please everyone unconditionally, but I found it challenging and honest — and hair-raising enough to work as a modern morality tale in cowboy boots.

Laugh-out-loud funny and somewhat melancholic.

Love Lies Bleeding is an exhilarating ride from beginning to end. Whether that’s because of its status as a tense crime thriller, its brutal violence, its sultry central romance or a combination of all three, the pulpy, pulsing power of this movie cannot be denied.

Don't miss this one. A brave and inspired antidote to time-wasting mainstream movies, it is unlike anything you've seen before or will likely ever see again. In short, it is unforgettable.

It’s as cheeky as it is morbid, and the two flavors play well together.

The heart of the film derives from the fact that the more they all get to know each other, the more they all mature and their differences blend. The title comes from a lesson in Huckleberry Finn—that a lie is good if it helps others, the way Huck lied to save Jim from the slave traders.

Several aspects of this sad, grim story remain a mystery, but I am pleased to report that for the most part, Chappaquiddick catalogues the facts and eschews the sensationalism. The result is a film of integrity and disclosure, a controversial chapter in American history that substitutes clinical accuracy for Hollywood embellishment, with an impressive attention to detail and an admirable respect for suspenseful narrative.

Lovelace may be a movie about a porn star, but it’s not pornographic. At least, not sexually.

As a cautionary tale about America’s inevitable self-destruction, the relentless cynicism of its narrative is often preposterous, but as a visionary look at the horrors that lie ahead for a great country on the rocks—and what America has done to itself already—this is one of the most harrowing yet exhilarating science-fiction epics ever made.

It’s a little long and leisurely. However, fueled by Rachel and Richard’s baby mania, it never drags.