Wildly imaginative if extremely strange.

There are painful moments in “Marlee Matlin: Not Alone Anymore,” and there are triumphs. But mostly, it is a film of grace and acceptance — a necessary portrait of a groundbreaking artist.

Priscilla could be described as the story of how the virginal wife finally got a clue, but it takes her too long. We’re left with a movie that mostly consists of a confused woman-child stumbling around a mansion in high heels.

The action is so fast that the viewer almost breaks out in a sweat...Ultimately vapid. Lola never does develop as a character, and the fuss seems ultimately pointless.

One to One: John & Yoko combines the best aspects of Boomer nostalgia with generational overindulgence.

It's excessive and psychologically imprecise, coarse where it should be refined and too much like a David Cronenberg horror movie in places where restraint and intellectual rigor are called for.

For the most part, The Painter and the Thief seems authentic, a very real portrait of two unique individuals. It not only explores the artistic impulse, but also issues of relationships, addiction and rehab. It also provides an interesting glimpse into the Norwegian prison system, which is geared toward rehabilitation rather than punishment.

Ultimately, Black Bear is about the price of art — not only the price the artist pays, but that the people around the artist end up paying, unwittingly. Yet in the actual experience of it, the movie doesn’t feel so lofty. It just feels tense and disquieting, like a thriller. In that sense, it is a thriller, but one of the emotions, and it’s riveting every step of the way.

Emily Watson is ravishingly good -- and brings an amazing focus and intensity to what could have been a disease-of-the-week picture.

The movie asks us to wonder what’s real and what’s false, and what it all means. But it goes on for 134 minutes without ever giving viewers a reason to keep watching. Few Netflix customers will make it all the way to the end, and even fewer will be glad they did.

While “André Is an Idiot” serves as a great reminder to schedule some basic health screenings, it also explores how best to find the quality of a life when its quantity is clearly defined.

Like the best wines and the best films, there’s a complexity to the finish, so that it reverberates with meanings beyond the obvious. Indignation has the disconcerting quality of truth and is an altogether adult piece of work.

The film doesn't explore the nature of ghosts, as it promises to initially, but it's fun to watch Del Toro confront death and fear with such energy and humor.

The beauty of Morris' achievement is the way he fuses Hawking's work in theoretical physics with his subject's life history -- finding subtle connections between the two, and avoiding the pat, predictable structure of biographical film. [28 Aug 1992, p.C3]

Neither does it help that, despite the wit and literacy of Enough Sad, its form is straight out of a teen romance: A cool kid starts dating someone less cool, and then engages in some elaborate deception that, if found out, will threaten the progress of young love. The funny thing is, if Enough Said were converted wholesale into a high school romance, the characters' behavior might ring more true.

Still: A Michael J. Fox Movie is irresistible. While his Alex P. Keaton of “Family Ties” and Marty McFly of “Back to the Future” are beloved characters, the actor who gave them life is much more interesting and real.

Sr. is elegiac in tone, often moving, with moments of irreverence and humor.

The biggest sin of 28 Weeks Later is that it's not in the same league as the near-perfect movie that came before it.

I’ve been fascinated by McCartney for decades, and “Man on the Run” made me feel like I was getting closer to understanding the real guy.

As a slice of life, Les Misérables is satisfying enough, but as the film wears on, the movie goes beyond the slice of life. It steers in the direction of drama and consequences, as the story narrows, and pressures come to a boil.

Haunting psychological drama.

At its best, Kajillionaire provides a chance for Rodriguez to play a breezy extrovert and for Wood to play a damaged introvert, and for their characters to alter and deepen through contact with each other. They’re both excellent, but they can’t make the movie any less slow, and July’s relentless whimsicality occasionally sounds some false notes.

A treat for anyone who's passionate about films or who's ever wanted to learn more about them.

There's little illumination.

Her (Anderson) performance is a study in the difference between hubris and pride, remarkable for how unshowy but profoundly devastating it is.

The experiences of this family from Fairfield will resonate with moviegoers around the country.

The result is an excellent film - entertaining and informative and sometimes stunning in its display of the personal demons shared by these two geniuses.

If you haven’t been to the movies in a while, Top Gun: Maverick is a way to get back in. It’s pretty much what “going to the movies” is all about.