The end result is flawed, but also funny, heartfelt and inclusive movie making.

Hit Man is not among Linklater’s best movies, but he gives his best to it, and the results are on the screen.

Almost single handedly, [Louis-Dreyfus] muscles “Tuesday” into the territory of being worth seeing.

A highly amusing combination period film and mockumentary.

(Morris's) strangest and most disturbing portrait yet.

Appealing movie, one of the summer's pleasant surprises.

Dawson turns out to be a necessary ingredient, propelling the emotional core of the film forward, while somehow convincing the audience that a smart, attractive woman could find a schlub like Dante desirable.

An intense and chilling documentary.

Will & Harper works best when the serious issues that confront trans people are openly discussed, from acceptance to mental health issues and the simple problems of daily living.

Lyne has always gone the extra step, and Deep Water shows that he hasn’t lost his touch.

How much you enjoy You Will Be My Son depends on how much you can take an unbearable, arrogant jerk as your lead character.

What Happened Was . . . isn't always easy to watch. Like a Beckett play, it doesn't spare its characters, but strips bare their insecurities, their fear of rejection, their essential isolation and foolishness. [07 Oct 1994, p.C3]

The Sunshine Makers is a true San Francisco story.

An authentic piece of Americana. There's no lying or condescending from this director. Nebraska feels pure.

It has all the excitement of a movie about crime, but if you took all the crime out of it, it would still work as a love story. Director Adam Rehmeier and screenwriter Tom Dean are not trying to create something mythic here, but something small-scale and affecting.

A conventional suspense thriller, but the details kick it up a notch.

Margot Robbie plays Tanya, Kim’s best friend and professional rival, and it’s a real asset to have someone with that kind of a star wattage in a supporting role.

It’s good to see Spielberg, at 71, still finding new forms of cinematic language with which to express his humanism. It also should be said that though Ready Player One wears a cheerful face, there are none of the usual heartwarming, classic Spielberg moments. That’s because, second to “Munich,” this is his most pessimistic film.

This is compelling stuff, but Lilien is less successful in trying to link Pale Male's story to his own.

After leading the audience into some very inky satire, Goldthwait backs off.

A feel-good movie.

Neeson has a way of getting upset - a frantic purposefulness - that fills viewers with both empathy and anticipation: He's so miserable that we care.

One of the most quietly powerful endings in recent memory.

We encounter a man of great talent and usefulness, and yet someone most of us can be glad never to have met.

When the action is extreme, GoldenEye is supercharged with spectacular, thundering, brain-numbing fun.

A brilliant performance (Walken).

If you've sworn off movies about adolescent misfits, I don't blame you, but make an exception for Terri. This modest comedy-drama declines to take the easy way out, unlike many examples of the genre.

"The Family Stone" did nothing for Parker, but Failure to Launch makes a strong case for life after "Sex and the City."