An unwatchable sci-fi creep-out by eccentric French director Claire Denis, it stars Robert Pattinson, who devotes himself these days to art films in an effort to live down his reputation as a sexy television vampire.

Few films this year have been as soulful or as quietly defiant.

It oscillates between moving and manufactured, but the movie’s honest portrayal of life on a tribal reservation and a powerful performance by Lily Gladstone keep things grounded.

With Nope, Peele aims to make viewers afraid of the sky the way Jaws made us scared of the ocean. Horror thrives when it twists the everyday into something ominous, and Nope may have you scanning the skies for suspiciously still clouds.

What one does not expect is a load of total trash full of gimmicks instead of ideas, stolen scenes from other movies instead of originality, amateurish posturing instead of professional performances, clueless meandering instead of organized screenplays, and pointless confusion instead of clear-eyed direction.

Paddington is a harmless delight that blends live action with animated technology in the manner of "Ted," but without the raunch.

It would easy to call Women Talking a #MeToo movie, but it’s a lot more than that. These aren’t trendy conversations; they’re long-held struggles that people of all genders have faced for generations. Instead, Polley asks why people are forced to endure such horrific repression and violence because they are female. The question resonates far beyond the end of the film, although there is no quick answer.

By presenting this crucial cultural phenomenon in a staid documentary form and in the reverent tone of a hushed docent, The League has the unintentional impact of making Black baseball seem like ancient rather than living history.

Written and directed with muscle and grit by Kitty Green, The Royal Hotel is loaded with grim ambiance, and there is even some suspense, mainly while the viewer waits to see if anything will ever happen.

Has moments of heart-pounding suspense and brief glimmers of greatness, thanks to fine performances by Ewan McGregor, Pierce Brosnan and Olivia Williams, but overall feels uneven, sprawling and strangely incomplete.

For a movie that pulses with joyful expressiveness and brims with possibility, there is a tragic undertone to Ailey.

A dreary bummer.

Dallas Buyers Club represents the best of what independent film on a limited budget can achieve — powerful, enlightening and not to be missed.

As a thriller, The Imposter is gripping. As a documentary, it provokes confusion and annoyance.

When violence does befall Clare and her family, it is far more devastating than anything she could possibly have imagined. It’s also as shocking and difficult to watch as any I have seen in a lifetime of watching violent movies.

It’s a movie that knocks itself cross-eyed trying to be hip, clever and today about acerbic seniors, but instead it only makes you long for old ladies in aprons exclaiming “Land sakes alive, I smell something burning in the oven!”

It’s hard to label a film this empty, but the word “worthless” comes to mind instantly.

This remarkable movie — factual and funny, always surprising and unconventionally written, directed and acted — sets the record straight with an adrenalin rush that overwhelms the senses.

Minnelli's direction never lets the farcical aspects get out of hand, walking a perfect line between comedy and sentiment that's sometimes heartwarming without ever becoming mawkish -- a delicate balance to achieve and maintain. [28 Jun 1999]

Maestro is the movie of the year. Amendment: not to slight the amazing Oppenheimer, make that one of the two best films of the year. But Bradley Cooper’s warts-and-all biopic about volatile conductor-composer Leonard Bernstein has more passion, tenderness and heartbreaking resonance—and it’s a lot more fun.

Filmed on authentic locations in Poland by meticulous Canadian director Louise Archambault, Irena’s Vow is one of the most astounding true stories to ever emerge from the ashes of the Holocaust.

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.

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.

Downbeat, depressing and heavy as lead, Calvary is nevertheless an unusual film that never bores. Impeccable performances by Chris O’Dowd, Aiden Gillen, M. Emmett Walsh and Kelly Reilly are riveting. And Mr. Gleeson is a bear-like centerpiece of conflicts and contradictions who anchors the floating pieces of the Irish puzzle in faith and doctrine, while mercifully refusing to sermonize.

It’s to the star’s immense credit that his spellbinding appeal provides a tension that the script’s funereal pace often lacks.

It’s profoundly moving and thoroughly mind provoking, but despite the poignant subject matter, I promise you will not leave Philomena depressed. I’ve seen it twice and felt exhilarated, informed, enriched, absorbed and optimistic both times.

Resonating with warmth and sardonic wit and containing a majestic performance by Robert Duvall.