A quirky little comedy about one day in the life of a New York playwright on the brink of either greatness or failure.

We are told at the film's beginning that we are about to see a "diary of suffering," and it is that, but the effect, after four-and-a-quarter hours, is exhilarating.

IAm Eleven is ultimately a satisfying film because the kids are so compelling. But Bailey’s motivations color the authenticity of a well-meaning “documentary” that borders on nostalgic self-indulgence and wishful thinking.

The sequel is even more enjoyable than the first, with action sequences that are as good or better than anything you’ll see at the theater.

The Sessions is moving. At times, it's even erotic, which is unexpected, to say the least. It sends viewers out of the theater with a heightened sense of the physical and a real feeling for all the things that sex means in human life.

Along the way, My Best Friend offers insights into the emotional and psychological components of both friendliness and friendship. They're not synonymous, though both have value.

Star Trek: Insurrection is out there where the imagination collides with roaring spaceships, exotic planets, wonderfully nutty costumes, a few choice jokes and some fascinating ideas.

A small and not particularly ambitious movie, but it's pleasing and exceptionally well made. It was directed by Stephen Frears, and while it's not up there with his best - "Dangerous Liaisons," "The Queen," "High Fidelity," "Cheri" - Lay the Favorite lavishes the same attention on the personal, on relationships, and, like most Frears films, it puts a woman at the center of the story.

A provocative character study and portrait of the times.

Love Hurts is that rare action movie almost devoid of noticeable computer effects. It’s a hand-to-hand, bone-crunching martial arts movie with tongue firmly in cheek, resembling those Jackie Chan action comedies from the 1980s and ’90s.

An enjoyable example of this extraordinary director's documentary work.

Bleak, dark and strangely arresting throughout, Blast of Silence is not quite a can't-miss proposition, but one comes away from it feeling as if one has seen a minor classic of some kind. Yes, minor - but still a classic. [04 May 2008, p.N36]

Theron is nearly unrecognizable in the role. She's also astonishingly good. Obscuring the movie star has liberated the actress.

It’s a good, not great, movie, but it has some of the elements that make Linklater’s work special. Few filmmakers are quite as keyed into the passing of time, as the source of all sweetness and heartache in the human experience.

The A-Team is a Joe Carnahan movie, i.e., an experiment in propulsion and personality over substance and story.

A sly variation on the buddy movie.

The locally sourced documentary is always engaging — lively and well-paced with an impressive list of interviewees from Hillary Clinton to Huerta herself.

In a variety of forms, Slither excels in imaginative gore and shows that first-time director James Gunn has learned much about the joys of linking humor and horror.

The rare case of a movie that gets better as it goes along.

The film's impact has a lot to do with Fabio Vacchi's original score, which is both plaintive and coldly modernist, with echoes of Charles Ives.

Gains its power through what it withholds, namely, sound- bite answers as to why these horrific events happen.

There's no greater meaning to any of this, and the slapstick turns won't seem particularly ambitious to anyone who grew up on Bugs Bunny cartoons.

As a slice of life, Les Misérables is satisfying enough, but as the film wears on, the movie goes beyond the slice of life. It steers in the direction of drama and consequences, as the story narrows, and pressures come to a boil.

A quiet, introspective look at how a volatile same-sex-marriage referendum played out in Maine, presents a balanced, journalistic approach to this divisive issue, but there's no doubt who leaves the biggest impression: the opponents of gay marriage.

Although the film ends with a facile, romantic comment by Oppenheimer, the unnerving momentum of all that has gone before will remain to haunt the imagination of the viewers. [20 Oct 1989, p.D2]

This documentary has no bells and whistles; Bill Haney, the director and co-writer (with Peter Rhodes), sticks to the facts.

Armed with wit and charm to spare, Extra Ordinary is joyful and creative and deserves to find an audience — in this world or the next.

Sweet-natured, meticulously observed love story.