It does for hit men what "Up in the Air" did for frequent-flying corporate terminators, minus the comic tang.

A loving biographical tribute.

A sharp-witted satire of celebrity journalism.

It feels like living inside a pressure cooker with one particular family — experiencing their turbulence as if from the inside, while always a little glad to be watching from a safe distance.

It's a film of sensitivity, observation and humor - a must-see for Fellini enthusiasts and a worthwhile investment for everyone else.

The last half hour and the lively opening make us almost forget the movie’s so-so middle. It brings all the elements together, points to the future and keeps the action to a human-scale minimum. If you want to see Solo: A Star Wars Story, I wouldn’t talk you out of it.

It's a strange film, very original and very good. Just by virtue of the subject matter, it can't help but be erotic, and yet eroticism is not the movie's purpose.

If you can live with its blemishes, The Lobster is a bracing experience.

The movie is more about how many things Michael Bay can smash up -- lots. That might not be a talent most people respect, but it gets through to people anyway, and here Bay does it exceptionally well.

A quirky character study of the four-man team, led by Sam Neill as the crew leader who seems surrounded by an aura of sadness but is so dedicated that he's not above lying to Houston to buy time when something goes wrong.

A smart, juicy entertainment, but it's the kind of straight-up legal drama that hinges entirely on crafty storytelling and across-the-board solid performances.

Gut-wrenching.

The Gift stretches things a little too much for it to be a first-rate thriller. Still, among second-rate thrillers, it’s one of the best.

Its one flaw occurs when the film concocts a fake conflict between the women in an attempt to add some drama. The plot device doesn't do great damage, but it is enough to keep the film from being a hands-down four-star movie.

The result is that this is one of those rare movies that gets better as it goes along.

Will Smith has the right quality for the role -- he's an easy man to root for -- but he augments this by channeling some inner quality of desperation and need.

The filmmakers employ an offbeat and effective technique to get Landis to explain himself.

Gets back the mood, the pleasure and even some of the freshness of its first installment.

I'm completely unsure what else Pee-Wee's Big Adventure is about. I can tell you that 70 percent of moviegoers in their 20s and 30s will likely find this crazy production to be a barrel of fun, and frequently a barrel of laughs. A certain intelligence peeks through it all. [9 Aug 1985, p.68]

As presented in "What Just Happened?" the world of Hollywood looks like a very expensive, lethal version of high school, not fun to live in, but lots of fun from a safe distance.

A potent drama from Yang Li, one of China's Sixth Generation filmmakers noted for the stark realism and documentary feeling of their work.

Stop laughing long enough, and you'll see that it's a picture about compromised lives and love for sale. But no one who watches Priceless will stop laughing for that long.

Will probably pass muster with very young viewers, but their parents may grit their teeth at its saccharine quality.

That Sunshine Cleaning was made by women is best revealed in the filmmakers' willingness to let the story breathe on its own terms, without bringing in anything extraneous, unwelcome and exciting.

This film makes you wonder why aren't there more young love movies?

To members of the Darko cult, this may not be an improvement, but it could help this compelling and extremely moving film find the audience it deserves.

Not always pleasant to watch.

Love & Friendship looks splendid. If the costumes by Eimer Ni Mhaoldomhnaigh (“Cavalry”) were any more beautiful, they’d be too beautiful.