The real reasons to see it are Barrymore, Barrymore and Crawford, the beating hearts of the picture. [21 Jun 2018, p.E5]

There's no shortage of well-staged oater action by director John Farrow (including some trick 3-D effects lost in this otherwise 2-D version) as Wayne and his buckskinned pal Buffalo Baker (Ward Bond) ride out to save a band of settlers from marauding Indians. [23 Oct 2005]

As a great New York story, it’s also a great American story about ambition and failure, about the kind of people who make it, the kinds who don’t, and all the things that can go wrong.

I Am Love casts no spell and creates no narrative urgency. It's as compelling as mildly interesting gossip about people you don't know.

The late film critic Roger Ebert called movies an “empathy machine,” and “Io Capitano” stands as Garrone’s plea for empathy in a debate that sorely lacks it.

Gone Girl is a great thriller until it stops being one, about 20 minutes before the finish. Until then it’s brilliant, not just a triumph of story but of strategy, a movie that keeps the audience grasping and reaching in all the wrong directions, while consistently delivering something a little better, a little crazier and a little more disturbing than expected.

Worth seeing, both for the ways it's timeless and for the ways it encapsulates an era.

Jia’s languid style and exquisite framing complement his understated approach to the material, which opts for depth over melodrama. But Mountains May Depart is grounded in Zhao’s delicate performance, which is her best.

It's sober, never flashy or exciting but always engrossing.

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.

For a bighearted effort like this one, some patience on the audience's part is not too much to ask. Go ahead. Take a chance.

This warm, celebratory and very public film is punctuated by sudden and luminous private visualizations.

Extraordinary.

A vicious horror flick with an actual beast and someone who just acts like one.

Riveting.

This is an important movie, but it’s not a perfect one. It has one enormous flaw, and it’s a testament to the smartness of the writing and the inherent fascination of its viewpoint that it doesn’t wreck the experience: Director Justin Simien doesn’t know how to shape scenes or pull performances from his actors.

A study of middle-class, middle-aged disappointment in its varying forms, a sober look at different life choices.

The atmosphere of Loving, the feeling it evokes, is the film’s most distinct quality. The mood is somber and restrained, and the characters — not just the principals, but the people they know — seem beaten down.

Instead of settling for a tour de force from McKellen, Soderbergh goes for something better — a fascinating give and take from start to finish.

Still, when you’re making a Christian epic and the best thing about it is the guy playing the inquisitor, you have a serious problem.

Kristin Scott Thomas' performance in I've Loved You So Long is one of a small handful of highlights by which people will remember this year in movies. This is acting at its most exalted.

Overall, Dolphin Reef is spectacular. The filmmaking team does an excellent job of detailing the delicate ecosystem that supports these creatures. Although Echo and his fellow dolphins are the stars, there is a vast supporting cast of humpback whales, sharks, razorfish, sea turtles, mantis shrimp, parrotfish.

As painstaking as a documentary but without the satisfaction of a documentary or the impact of a drama.

Reprise has a smart and knowing script and will compel audiences to reflect on themselves at that age.

Bright Leaves' takes on a sizable foe -- in this case, big tobacco -- but with such grace and wit that his message never seems medicinal.

Jones uses Furie’s story, and some gorgeous animation, as a wonderfully succinct window into the way social media has changed the country. By letting 4channers speak for themselves, the film also puts a face to the bad actors without ever letting them off the hook.

A study in unexpressed emotion, but Mamet turns the flame so low that his film lacks the emotional payoff we expect.

Things happen in a flat, deadpan way.