This is a fine motion picture with a couple of superlative performances. It is arguably the best, most honest bio-pic of the year.

A superior horror film that offers a greater sense of disquiet than any other Dracula motion picture. Nosferatu the Vampyre may not be scary in a traditional sense, but it is not easily forgotten.

In the wasteland of August releases, this entry shines like a beacon lighting the way to a theater.

Loving is an important and interesting motion picture but it’s not always as involving as it might have been.

The movie eventually achieves a level of powerful drama…but only after dithering for more than an hour.

The movie's action largely takes place beneath the skin. The pace is slow but not glacial, yet Claudel demands patience. Ultimately, I've Loved You So Long is uplifting, although one might not expect that from the thematic material.

Made for the National Geographic Channel, Science Fair was devised as a television project. As such, it’s more than worthy of the time spent viewing it. The material is strong enough, however, that for those who appreciate documentaries of this sort, it’s a reasonable candidate for theatrical viewing.

Character development is of secondary importance to narrative and theme. As a result, we never really get to know any of the film's protagonists.

Mamet illustrates that he can work as capably from someone else's script as he can from his own, and that his talent as a director is not eclipsed by his ability as a writer.

Although the 1940 landmark may work better as pure family fare, this slightly more mature film (which is by no means child-unfriendly) is artistically and narratively superior.

Before Sunrise speaks as much to the mind as to the heart, and much of what it says is likely to strike a responsive chord -- a rare and special accomplishment for any motion picture.

It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

Dune: Part Two is a spectacle to behold with an underlying arc that makes it more satisfying than a 2 1/2-hour bite of eye candy.

Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.

From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights.

Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.

It’s challenging but neither inaccessible nor impossibly dense. Kore-eda invites intellectual engagement but doesn’t leave the viewer unrewarded. This is one of the year’s best movies – the third time in the last decade I have made that statement about one of the director’s productions.

Those wacky Coens are at it again. And those serious Coens. And those loquacious Coens. The Ballad of Buster Scruggs, a paean to pre-revisionist Westerns, allows the Oscar-winning brothers to try out nearly every weapon in their considerable arsenal.

The arrival of the uncut Godzilla is a great boon to monster movie fans, but will have limited appeal to others.

This is a simple story of human drama that provides an incentive to spend a couple of hours in a movie theater during a spring that has not provided many such reasons.

Green Room is a simple movie with a straightforward premise. The film works for two reasons: Stewart’s presence and Saulnier’s execution.

When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.

Tells a good, intelligent story that keeps us interested and involved.

What Selma does so well is to bring to life the events of 1965, especially "Bloody Sunday" (the first march). It's one thing to read about these moments in a history book but another altogether to see them on the screen. The movie is riveting.

Take away the spectacle aspect and the movie may seem repetitive and underwritten. In a premium movie house, however, the immersion is so complete that viewers may require a short recovery period once it’s all over.

Téchiné's development of Alex and Marie is masterful; Auteuil and Deneuve keep our attention riveted to the screen whenever they're on. And, while the director doesn't succeed in plumbing the emotional depths reached by Ma Saison Préferée, there are elements of Thieves that touch us nearly as forcefully -- those moments just aren't as plentiful.

This installment inches events closer to a merge point with 1968's "Planet of the Apes" while maintaining its own unique identity. It is in every way superior to "Rise of the Planet of the Apes."

May not have much thematic depth, but it represents two hours of pure, exuberant entertainment – an epic gangster tale rendered on a grand scale.