A profound and deeply moving exploration of facing death with dignity.

Glazer has a daring sense of story structure that ratchets up the suspense, and his sense for sardonic black comedy is unerring.

Not just a great sports movie, Harvard Beats Yale 29-29 captures a pivotal moment in recent history.

For actresses of a certain age, Jarmusch's film amounts to a full-employment act...Best are Stone, transparent in her desire, and Conroy, completely opaque.

His pictures cover familiar territory. Yet Nichols is blessed with a talent for telling stories from fresh, surprising perspectives.

Scorsese’s adaptation is overlong and at times insufferably self-indulgent, but contains sublime moments of transcendent beauty and a wealth of beautiful performances.

This is a picture of quiet observation, contained emotion, the hush before the cathartic scream.

In the film, the music, beginning with a muted a cappella ballad, is from Eastwood himself.

It's a gently provocative film diary about tobacco and its mixed legacy.

While its careful pace and seemingly opaque story may not satisfy every moviegoer's appetite, the film's final scene is soaringly, transparently moving.

Brilliant, blistering account of the many ways fame deforms a star, his family and his fans.

Plays like an exalted episode of "Miami Vice" or a stealth version of "Shane."

The Fighter is funny, ferocious, sad, sweet, pulpy, and violent. Sometimes, all in the same minute.

"You have to be like a poet," Jodorowsky says at one point. "Your movie must be just as you think of it. . . . The movie has to be just like I dream it." What an extraordinary dream it could have been.

The country goes unnamed, the warring factions aren't always clear, but the nightmarish exploitation of children is made specific in the most vivid, visceral ways.

It's indescribable fun.

Half a century after its release, Godzilla couldn't be more current.

At first glance Walter isn't a guy you want to spend two hours with. But by the end of the film, you don't want to see him go. Jenkins is like that: He sneaks up on you and steals your heart with light-fingered skill.

Green Room is just as accomplished a film, with the writer/director doing everything right: the cast, the music, the editing, the way he leads you one way and then clobbers you (and some of his ill-fated characters) when you (and they) are least expecting it.

Until a final conflict that more resembles a monster-truck jam than a superhero showdown, Iron Man is solid gold.

It's strong stuff.

This story of two very old souls who suck on O negative Popsicles is, in many ways, more about the life-sustaining force of music than any hankering for blood.

Selma may be flawed, even spurious at points. But in its larger portrait of a man of dignity, purpose, and courage, and in Oyelowo's performance as that man, the film rings true.

At a certain point in Dawn of the Planet of the Apes, you expect Caesar to say, "Et tu, Koba?" Maybe a bit obvious, but it would have shown some wit.

Apart from Connery, the star of the film is Mamet's deadpan script, which obviously inspired one of the movie's baldest old-movie tributes.

The movie may be the meditation of an old man, but rarely has a supreme artist's twilight been so richly illuminating. Faithless makes other films on the same subject seem clueless.

A powerful and moving contribution to the cinema of the Holocaust.

Nolte, reinforced by the bleak discretion of Schrader's direction and a wonderful supporting cast, makes the most of the opportunity.