Night Always Comes isn’t an especially ambitious movie, but it’s simple where it needs to be simple, and it’s complex when complexity is called for.

This is a tense film that builds in impact as it goes along, and ultimately, it’s riveting.

Though some of the acting has a stilted feeling, the emotional charge and unusual look of the film linger.

The impressive thing that Oslo, August 31st does is that it somehow relates what Anders is going through to the city of Oslo in general. Anders is not a metaphor for Oslo - that would be cheap and silly. Rather, he is just one more story in the naked city, and we see him against the backdrop of other people, having quite different lives.

The first half of White Palace is done so well that it's tempting to overlook the fact that once the picture gets its two lovers together, it has nowhere to go -- and it goes nowhere for the last 50 minutes. [19 Oct 1990, p.E1]

The film doesn't see any contradictions between the man and his work, which is folkloric, mostly upbeat, often humorous. Both art and artist are outsized and entertaining, and that's about all that Bel Borba Aqui has to say.

It is, for what it’s worth, a good documentary, though I imagine its true worth and true nature can only be revealed in time. At the starting gate of 2018, we can have no idea how this film will be perceived in 10 years, and maybe we don’t want to know. Then again, maybe we do.

A powerful, frightening look at America's delivery room.

The filmmakers succeed with an unexpected ending. It's as fresh as everything in the movie, which turns out to be about so much more than one youngster's resilience.

Hollywood warhorse Norman Taurog directed Elvis eight times and had a knack for dragging decent performances from the boy. [03 Aug 1997, p.34]

Sly Lives! may not provide definitive answers, but the fact that it even asks those questions puts it a cut above most films in its genre.

Hooking Up is a pretty good movie. I enjoyed it and could even imagine watching it again. But it’s also the movie that shows that Brittany Snow doesn’t have to be relegated to pretty good movies. She’s ready for better.

Trumbo is welcome just to bear witness to the severe consequences meted out to one man who dared to do the right thing.

Whatever your religious affiliation, you will come away thinking that if all this did actually happen, it probably happened something like this.

If you stare at it too hard, In Another Country, an exercise in drollery from South Korea's Hong Sang-soo, simply evaporates. But if you take the film as the bauble it is, you'll be entertained by its lighthearted wit, social observations and resolute sidestepping of profundity.

Real acting replaces re-enacting, and amazing cinematography pits the limits of human will against the unruliness of nature.

Concubine demonstrates that Chinese films are growing by leaps and bounds in their technical sophistication, but also reveals how much they borrow from the energy and style of American cinema. [29 Oct 1993, p.C1]

The result is a movie that, like the book, is episodic and has dips in energy but has more than its share of glory and illumination.

Sweeney gives the movie its extra spark, its sense of occasion.

When The Journey keeps its eyes on the road, it’s a nice little drive.

There should be more American family movies like Pete’s Dragon. Since there aren’t, we should get behind this one.

More depressing than liberating, but it's never boring.

The film's sense of intimacy, its closeness to real people and painful events, allows it to reach a deeper place than more conventional pieces of political rhetoric.

The movie's shockingly tasteless setup is also its secret weapon. Despite many scenes in The Ringer that could individually be viewed as politically incorrect, audiences will be laughing with the athletes most of the time.

Except for an ending that's so implausible it might have derailed a less solid work, Twelve and Holding is a realistic and sympathetic portrayal of what it's like to be young and confused

Just Mercy isn’t the best movie that could have been made from its subject, but it’s good enough.

Jennifer Aniston...doesn't have much screen time, but in playing this slightly insecure, affable young woman, she does her best film acting to date.

An engaging, revelatory slice of life.