Moana would have been enormously entertaining regardless of when it came out, but its arrival at this particular moment in history gives it an added sense of significance—as well as inspiration.

While it may not quite be the modern-day “Casablanca,” it is nevertheless a grandly entertaining stab at old-fashioned storytelling...buoyed by smart and stylish filmmaking, a good performance by Brad Pitt and an even better one from Marion Cotillard.

The kind of lush historical drama that Hollywood might have made in the 1930s but these days unsurprisingly owes its existence to foreign producers and, most especially, a renowned literary source.

I Am Madame Bovary plays out as a comedy, a lampoon of the incompetence and laziness of government officials.

The Take is just really lousy.

This is one of those “based on true events” movies that give you the distinct feeling that the true events deserved better.

Blood on the Mountain is wide-ranging across time, driven by talking heads and select footage, but it nails the human element at its core.

A work of exceptional, undeniable craft, but it’s also a movie that’s meant to stick to you a little bit.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

If the subject interests you, don’t let my mildly negative review dissuade you from going to see it. I would like to see it again myself, but this time in the version I can share with several of my relatives whose vision is no longer present.

The problem, though, is that we never get enough sense of Paz's interior life to judge this movie as anything other than a comeback story about a nice guy who got knocked out by the cosmos and hauled himself up.

The Edge of Seventeen is a strong successor to Hughes’ legacy with its mix of biting humor and bittersweet heart.

As with most complicated narratives, it is best to simply sit back at some point and enjoy the ride.

Hunter Gatherer doesn't look or feel like many movies being made right now.

Ultimately, True Memoirs of an International Assassin isn’t entertaining enough to recommend, but it’s certainly not the torturous experience of recent James vehicles like “Paul Blart: Mall Cop 2” or “Pixels,” and parts of it actually work.

The kind of lazy genre hackwork that will inspire more yawns than screams—at least until the final reels, when the sounds of incredulous laughter will no doubt take over.

Disturbing the Peace is a courageous and uplifting film that deservedly earned a rapturous ovation when it screened at Ebertfest this year.

The movie is relentless in how it poses questions about our culture’s way of dealing with the power of female sexuality (and it wouldn’t work without Robinson, whose appearance and performance is impeccable for the job) and acknowledges that there’s not only unease in these questions and their answers but also mordant hilarity.

The movie USS Indianapolis: Men of Courage is not exactly unwatchable, but it’s also completely not worthy of watching.

Lacks sufficient inspiration and follow-through to be truly exciting.

Ang Lee is a great director whose last film, the Oscar-winning “Life of Pi,” made ingenious and very effective use of 3D technology. But that film had a much better story than Billy Lynn's Long Halftime Walk.

The reason that The Monster works is because of how much Kazan’s performance captures the truth of the moment in which Kathy struggles.

Elle is a high-wire act without a net.

Aunt May is such a delectable force that the audience waits with baited breath to see if she’ll do what we’d expect from an auntie. And she always does; her consistency is the warmest form of comfort.

The big problem throughout Uncle Kent 2 is that while it can offer some amusement, it all feels like an inside joke.

As a character, Yasuko feels a bit underdeveloped, resulting in a late-film character turn that I didn’t quite buy, but every narrative issue in Creepy is overwhelmed by the quality of the filmmaking.

Foiled by a weak imagination and clear limits to its awareness, Rainbow Time doesn’t become the strong feminist statement it ultimately wants to be.

A mixture of misplaced gallows humor, wildly over-the-top caricatures and a gimmicky use of animation combine to make My Dead Boyfriend one of the year’s more uncomfortable movie-going experiences.