Most frustratingly, Smith's powerful music is heard only in snatches.

Soderbergh's experiments are gripping -- the photography, music, wobbly chronology and so on -- but the movie is more of a curiosity than anything else.

White Hunter is an offbeat, thoughtful and amusing adventure. [21 Sep 1990, p.R13]

Partridge is a smidgen less abhorrent here than in previous incarnations, but just a smidgen.

Waddington's wonderfully textured film is an unforced work of naturalism.

Mostly it's inspiring: to think that a man of Antonioni's years and talents is still capable of producing such vital work.

Most memorable for its startling color scheme, all sepia-toned monochrome with occasional stabs of icy blue. [23 Mar 2001]

Directed by Lili Fini Zanuck, Rush is well-acted, stylishly filmed and intense. Leigh is convincing as an accidental tourist on the road to ruin. [10 Jan 1992, p.20]

Although some of the accents are so thick it's difficult to understand the dialogue (where are the subtitles when we need them?) the performances feel genuine.

The two lead actresses are exquisite in their divergent ways.

It's great to see The Rock re-embracing the action genre, and when his clobbering match with Diesel finally happens, it's as outlandishly room-wrecking as I'd hoped.

Consistently surprising, Seven Psychopaths ultimately plays like a combination of Quentin Tarantino's self-aware, savvy ultraviolence and Charlie Kaufman's reflexive head trips. And that potentially awkward combo goes down like a chocolate-vanilla swirl cone, only with more guns.

Not the stuff of greatness, but you couldn't ask for a better time to see it.

The Bling Ring still feels more like a magazine article overstretched into a feature length film.

The actions of both these vilified parties are so seemingly irrational that you're left feeling there must be some explanation, one that director Todd Douglas Miller either couldn't or wouldn't ferret out.

Lumet's films are always well-acted. Q & A is no exception. And the story has more than enough rich, lively characters to go around. [27 Apr 1990, p.R13]

Its got a deliciously audacious and cheeky tenor.

Crimson Peak ends up feeling like a bit of make-work, a project to keep the visionary filmmaker busy until something that truly sparks his passion comes along.

A pleasant entertainment, the term Graham Greene used for his thrillers, but slips away from memory as quickly as a summer evening.

The result is a hybrid of "Falling Down" and "Short Cuts" without the iconic central character of the former or the latter's clear-eyed humanism.

The subject is fascinating, the talent is undeniable, but the humanity that made Lili Elbe so memorable gets lost along the way.

Don Jon is raunchy. The dialogue’s frank and much of what we see is explicit enough to make this a film exclusively for grown-ups. Luckily, the emotional places Gordon-Levitt takes his characters are pretty grown-up, too.

The Coens have often been accused of coldness toward their characters, but the verve and wit of their films reveal genuine compassion and heart. Based on the evidence of this film, the Pangs aren't quite there yet.

Its sense of play, its sleek design and Yuen's spectacular action sequences will make it, I suspect, attractive to palates not accustomed to the spicier or cruder forms of this genre.

It's a gorgeous, strange little piece -- but I did find myself wishing it poked fewer aces out its sleeve after urging us to pay such close attention.

Even though Spurlock, a totally likeable Everyman, is in the middle of it at all times, "PWPTGMES" never feels like the work of, oh, Michael Moore.

Oddest of all is how Truth whips through this, making noble statements about journalism while brushing off the failures to get it right. Mapes was busy and stressed. (Slow down!) The document authenticators had doubts. (Listen to them.) The source said he was lying before but is telling the truth now. (Don't trust him.)

The film is exquisite on every level, full of sadness and emotional surprise.