I liked every minute in it. Other films are like empty containers; this one's full. It's full of invention, full of moments, full of business, full of the nuances of human interaction, full of feeling.

The movie deals with themes of secular and religious love, of how they may intersect and diverge, that are suggestive of Bergman or Carl Theodor Dreyer.

Entertaining and suspenseful, the movie shows the politicking and strategies that go into this annual ritual, and Costner is at his beleaguered best.

That the film happens to be in 3-D, with digitized settings and backgrounds, doesn't detract from the timeworn charm of watching blob-like characters lurch erratically through harebrained comic pratfalls.

A gentle comedy.

The plot alone is a thing of beauty.

L'amour Fou engages and moves viewers in two distinct ways. It engages us by showing us something we don't know about that's interesting. It moves us by showing us something we immediately understand, that has nothing to do with being a big shot and everything to do with being just another person at the mercy of time.

Almost satirical.

Even if you’d never in a million years want to ride with these guys, “The Bikeriders” makes you understand why they wanted to ride with each other.

Like many first-person medical documentaries — such as the recent “Gleason” — Unrest can be really hard to watch. Brea’s film, though, might be the beginning of hope for millions of sufferers who might see the film, and could be a conversation starter for additional funding into research.

The film offers something unusual, a tragic spectacle of normal, recognizable and utterly sympathetic people condemning themselves.

No one emerges unpunished.

A funny comedy, and sometimes an even better drama.

Hoffman, last seen in Francis Ford Coppola’s “Megalopolis,” is a delight, and Jean Reno provides added charisma in a small role in the film’s second half. But the film belongs to Woodall, who turns brooding silence into riveting cinema. His is a star-making performance, perfectly in tune.

It’s an engaging product, typical of its era and elevated by Crosby’s non-singing breeziness and Astaire’s all-around brilliance, plus the appeal of Marjorie Reynolds, who has to pretend that she’s enthralled every time Crosby warbles something in her direction. Now that’s acting.

Director Jacques Audiard beautifully lays out the story of a charming nobody named Albert who becomes a master of the half- smile and nonchalant gestures of deceit. But the story is also a cogent metaphor for French collaboration with the Nazis.

It is all thoroughly entertaining and even, at times, gripping.

An absorbing, educational, sad, humorous and ultimately uplifting film that is easily accessible and entertaining even for those not familiar with the grunge rock scene, or with the considerable role that Schemel played in that milieu.

It’s a strength, not a weakness, of Jacquot’s that he makes movies about people. The ideas can take care of themselves.

The humor is all over the place, veering from light to dark and from broad to subtle -- as if an "I Love Lucy" episode had been retooled by Woody Allen.

This Belgian crime thriller makes compelling viewing out of a "you can't be serious" plotline.

For those who have seen the previous 'hood films, Don't Be a Menace isn't just funny. It's a relief. Things might be bad, the movie suggests, but they're not so bad you can't laugh.

A potential problem with the movie is that it can be a challenge watching people hand-wringing over moral decisions. But the acting is so good that it makes it worth sticking with during the slow patches.

The story told in Victoria and Abdul is so far-fetched that it really helps to know that it is, in its broad outlines, true.

Cohn was a strange mix of self-aggrandizing and self-loathing, or maybe that’s a familiar mix. In any case, he emerges from the film partly sympathetic, if only because he seemed so miserable all his life, but mainly as the prime example of what Shakespeare meant when he said, “The evil that men do lives after them.”

Has a goofy enthusiasm for itself that's contagious.

BlackBerry was ultimately left behind — in the cemetery plot next to Myspace. Still, if you ever had a BlackBerry, there’s something not only entertaining but nostalgic in watching this movie.

It's a serious subject handled with humor -- not the ha-ha kind, but the hard laughter that comes from recognizing parts of yourself in the Perelmans.